BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.16.5.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE: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: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:20260422
DTEND;VALUE=DATE:20260427
DTSTAMP:20251125T173635Z
CREATED:20251125T173635Z
LAST-MODIFIED:20251125T173635Z
UID:10000093-1776816000-1777247999@jamesmaherphotography.com
SUMMARY:AIPAD 2026
DESCRIPTION:The Association of International Photography Art Dealers encourages public support of fine art photography by acting as a collective voice for the dealers in fine art photography and through communication and education that enhances the confidence of the public\, museums\, institutions and others in responsible fine art photography dealing.
URL:https://jamesmaherphotography.com/event/aipad-2026/
LOCATION:Park Avenue Armory\, 643 Park Ave\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260416
DTEND;VALUE=DATE:20260607
DTSTAMP:20260416T135207Z
CREATED:20260416T135207Z
LAST-MODIFIED:20260416T135207Z
UID:10000131-1776297600-1780790399@jamesmaherphotography.com
SUMMARY:Mao Ishikawa: ROGUE
DESCRIPTION:“Human beings have an ugly face and a beautiful face. They tell you lies\, and they tell you truth. They are sweet\, and they are violent. All of these things make a person. I want to see everything. Therefore\, I always take photos of people standing right in front of them. I never hide myself when I take photos.”  – Mao Ishikawa \nAlison Bradley Projects is pleased to present  Mao Ishikawa: ROGUE\, the Okinawan photographer’s first solo exhibition in the United States\,  bringing together over 30 vintage prints from four of her major series: Red Flower (Akabanaa) (1975–1977)\, Life in Philly (1986)\, A Port Town Elegy (1983–1986)\, and My Family (2001–2005). Spanning three decades\, the exhibition highlights Ishikawa’s distinctive approach to photography—one grounded in closeness\, participation\, and long-term relationships with her subjects. The exhibition opens on April 16th\, 2026\, with a reception from 6:00–8:00 p.m.\, and remains on view through June 6th\, 2026.  \nIshikawa’s early work emerged in the aftermath of Okinawa’s 1972 reversion to Japan\, a moment that left intact the extensive network of U.S. military bases on the island. Produced in Koza City and Kin Town\, Red Flower centers on the social worlds surrounding Camp Hansen\, where Okinawan women working in bars formed relationships with African American U.S. servicemen. Rather than adopting a distanced or explanatory framework\, Ishikawa embedded herself in these environments\, working alongside her subjects and photographing the rhythms of daily life: late nights\, shared interiors\, and moments of collective ease. \nHer approach collapses the boundary between observer and participant. The resulting images function as both document and personal record\, shaped by relationships built over time. Rather than reducing Okinawa to a narrative of occupation\, Ishikawa foregrounds a complex network of connection\, care\, and mutual recognition formed within these conditions. This relational method extends into Life in Philly\, produced during her time in Philadelphia\, visiting a former serviceman\, Myron Carr\, whom she had met in Okinawa. There\, her attention shifts to scenes of domestic and communal life\, capturing moments of revelry and friendship\, intimacy and love\, and everyday movement through the city\, tracing continuities between lives shaped across different geographies.  \nIn A Port Town Elegy\, Ishikawa turns to another marginal community in Naha\, photographing port workers and day laborers she came to know through her own bar. The series continues her long-term\, immersive approach\, capturing a social world defined by both precarity and community. Later\, in My Family\, Ishikawa directs the camera toward herself. Produced following major surgeries\, these self-portraits extend her practice inward\, confronting the body with the same directness and refusal of distance that defines her earlier work. \nAcross her practice\, Ishikawa resists fixed narratives\, insisting instead on the density of lived experience within conditions of militarization\, marginalization\, and historical entanglement. Her photographs remain attentive to the ways relationships—however fragile or fleeting—take shape within these structures. \nIshikawa is currently included in the Whitney Biennial 2026\, marking a significant moment of recognition in the United States. Seen in this context\, her work articulates a perspective shaped from within Okinawa’s ongoing geopolitical position—one that continues to resonate across generations and borders. \nOn the occasion of Mao Ishikawa: ROGUE\, the gallery will present the video “2 OR 3 THINGS I KNOW ABOUT MAO ISHIKAWA”\, directed by Hiroshi Sunairi\, for the duration of the exhibition. \nComposed from two films—From Okinawa with Love and Okinawa Philadelphia—and re-edited for gallery presentation\, the single-channel work traces Ishikawa’s life and practice across Okinawa and Philadelphia. Moving between archival material and retrospective narration\, the video follows the artist’s early years photographing within the social world of African American GIs stationed in Okinawa\, and her later work documenting the life of Myron Carr in Philadelphia. \nPresented continuously in the gallery\, the work offers an expanded view of Ishikawa’s trajectory\, situating the photographs on view within broader histories of intimacy\, exchange\, and representation. \nhttps://www.alisonbradleyprojects.com/exhibitions/26-mao-ishikawa-rogue/overview/
URL:https://jamesmaherphotography.com/event/mao-ishikawa-rogue/
LOCATION:Alison Bradley Projects\, 526 W 26th St #814\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/04/mao.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260409
DTEND;VALUE=DATE:20260615
DTSTAMP:20260310T010839Z
CREATED:20260310T010839Z
LAST-MODIFIED:20260310T010839Z
UID:10000122-1775692800-1781481599@jamesmaherphotography.com
SUMMARY:Martha Cooper: A Retrospective
DESCRIPTION:Opening Reception: Thursday\, April 9\, 6:30-9 PM\nOn View: April 9 – June 14\, 2026\nBDC Annex\, 364 E. 151st St\, Bronx \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/
URL:https://jamesmaherphotography.com/event/martha-cooper-a-retrospective/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/martha-cooper.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260318
DTEND;VALUE=DATE:20260323
DTSTAMP:20251202T064410Z
CREATED:20251202T064410Z
LAST-MODIFIED:20251202T064410Z
UID:10000110-1773792000-1774223999@jamesmaherphotography.com
SUMMARY:Affordable Art Fair
DESCRIPTION:Affordable Art Fair New York will return in March 2026\, showcasing original contemporary artworks ranging between $100 to $12\,000. Welcoming local\, national and international exhibitors\, our spectacular Spring edition will be sure to put a spring in your step! \nhttps://affordableartfair.com/fairs/new-york-spring/
URL:https://jamesmaherphotography.com/event/affordable-art-fair/
LOCATION:Starrett-Lehigh Building\, 601 West 26th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/affordable-art-fair.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260312
DTEND;VALUE=DATE:20260426
DTSTAMP:20260310T011012Z
CREATED:20260310T011012Z
LAST-MODIFIED:20260310T011012Z
UID:10000123-1773273600-1777161599@jamesmaherphotography.com
SUMMARY:Emmet Gowin: Baldwin Street: Photographs 1966-1994
DESCRIPTION:Pace will present an exhibition of photographs by Emmet Gowin\, most of which have never before been seen\, at its 508 West 25th Street gallery in New York from March 12 through April 25. The presentation of works from Gowin’s Baldwin Street: Photographs 1966–1994 series will coincide with the release of a new book on the same subject from Princeton University Press\, available for purchase onsite during the show. It will also run concurrently with AIPAD’s The Photography Show\, on view in New York from April 22 to 26.\nThe exhibition will spotlight a selection from Baldwin Street: Photographs 1966–1994\, a body of intimate portraits by Gowin of his wife Edith Morris and her extended family taken in Danville\, Virginia. Named after the dead-end street where many of Edith’s family members—including her mother\, Reva Booher Morris—lived\, the series bears witness to the lives and relationships that shaped this family over time and sheds light on Gowin’s artistic development across his career\, which spans more than six decades. \nGowin unearthed the photographs on view in the show—most of which have never been published and were printed for the first time in 2020–2022—from his archive\, looking back at and revisiting a subject that drew his attention during different stages of his life. “I never lost interest in the gestures or the faces of this dearest of families\,” he writes in a statement on Baldwin Street. “It was here that I came of age and found my first true subject.”\nThrough Gowin’s lens\, images of Edith in her bedroom or on a ladder in the yard\, of Reva and her sisters\, children playing\, family lounging outside\, and funeral onlookers\, are captured with tangible care and compassion\, reflecting the artist’s close relationships with these subjects. “Through Edith and her family\, Baldwin Street became the center of my spiritual universe\,” he writes. “For over fifty years\, those houses and yards\, along with Reva’s garden on Baldwin Street\, all the children\, the aunts and uncles\, that small but intensely vivid and inspiring world\, was in my mind the true center of the world.” \nGowin’s work—which will be the subject of a forthcoming exhibition at the Virginia Museum of Fine Arts—is held in numerous public collections worldwide including The Art Institute of Chicago; Cleveland Museum of Art\, Ohio; Los Angeles County Museum of Art; Maison Européenne de la Photographie\, Paris; Museum of Modern Art\, New York; and National Gallery of Canada\, Ottawa. In 2024\, the Princeton University Art Museum acquired the artist’s archive\, which will continue to grow as he produces new work. \nhttps://www.pacegallery.com/exhibitions/emmet-gowin-baldwin-street-photographs-1966-1994/
URL:https://jamesmaherphotography.com/event/emmet-gowin-baldwin-street-photographs-1966-1994/
LOCATION:Pace\, 508 West 25th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/Emmet-gowin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260306
DTEND;VALUE=DATE:20260508
DTSTAMP:20260310T012219Z
CREATED:20260310T012219Z
LAST-MODIFIED:20260310T012219Z
UID:10000128-1772755200-1778198399@jamesmaherphotography.com
SUMMARY:Arlene Gottfried | Young & Old
DESCRIPTION:CLAMP is pleased to present “Young & Old\,” the gallery’s first solo exhibition devoted to the late New York photographer Arlene Gottfried (1950–2017). Drawn from the artist’s archive\, “Young & Old” brings together portraits that treat age not as a fixed category\, but something elastic—where youth can carry striking wisdom and advanced age can still be full of play. \nIn Gottfried’s Westbeth studio\, decades of work were stored in archival portfolio boxes. One was simply labeled “Young & Old.” The photographs found inside were portraits of children and people of advanced years—sometimes together in the same frame. But they also reflected Gottfried’s curiosity about specific individuals and their embodiment of youthfulness and maturity. \nGottfried’s photographs are often described as acts of encounter—images made not from distance but proximity and trust. As she put it: “My photographs were like souvenirs; I liked to collect moments and remembrances.” Her portraits offer those “moments” as shared space: people meeting the camera head-on\, asserting style\, vulnerability\, humor\, and self-possession in equal measure. \n“Young & Old” sits within the broader arc of Gottfried’s practice\, increasingly recognized as essential to the visual history of late 20th-century New York. A recent solo exhibition at The New York Historical—”Picture Stories: Photographs by Arlene Gottfried”—highlighted her ability to capture the city’s communities with candor and empathy. CLAMP’s exhibition extends that legacy through a resonant theme\, emphasizing the artist’s sensitivity to the ways time registers—on faces\, in posture\, in the friction between public performance and private interiority. \nOver the course of her career\, Gottfried published five books—The Eternal Light (1999)\, Midnight (2003)\, Sometimes Overwhelming (2008)\, Bacalaitos & Fireworks (2011)\, and Mommie (2015). Together the publications form a portrait of New York’s social worlds and the photographer’s own life moving through them. \nThe artist’s work is represented in many prestigious public collections\, including the New York Historical\, Brooklyn Museum\, New York Public Library\, Virginia Museum of Fine Arts\, North Carolina Museum of Art\, Southeast Museum of Photography\, Tang Teaching Museum and Art Gallery at Skidmore College\, Haverford College\, Lehigh University\, Bibliothèque nationale de France\, Maison Européenne de la Photographie\, Maison Valdôtaine de la Photographie di Aosta\, Musée Arthur Batut\, and Museum Folkwang\, among others. \n\n\n\n\n\n\nhttps://clampart.com/2026/02/young-old/
URL:https://jamesmaherphotography.com/event/arlene-gottfried-young-old/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/arlene-gottfried.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260206
DTEND;VALUE=DATE:20260302
DTSTAMP:20260205T174340Z
CREATED:20260205T174340Z
LAST-MODIFIED:20260205T174340Z
UID:10000120-1770336000-1772409599@jamesmaherphotography.com
SUMMARY:Clayton Patterson Photographs 1986-2001
DESCRIPTION:CLAYTON PATTERSON PHOTOGRAPHS 1986-2001\nFeb. 6th – Mar 1st\n47 Chrystie Street NY NY 10002 \nOpening reception Friday Feb 6th\, 6-9pm \nOpen to the public\nGallery will be open Friday – Sunday every week in Feb \nhttps://www.instagram.com/p/DUTfbdhkYXy/
URL:https://jamesmaherphotography.com/event/clayton-patterson-photographs-1986-2001/
LOCATION:47 Christie Street\, 47 Christie Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/02/clayton.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260205
DTEND;VALUE=DATE:20260322
DTSTAMP:20260310T012510Z
CREATED:20260310T012510Z
LAST-MODIFIED:20260310T012510Z
UID:10000129-1770249600-1774137599@jamesmaherphotography.com
SUMMARY:Fragmentary Glimpses:  Alfred Stieglitz and David Vestal in New York
DESCRIPTION:One thing is certain about New York City—it is always changing. We know this on an instinctual level\, but the art of the times is what reveals the city’s shapeshifting energy. As a versatile medium\, photography both documents what a camera views while simultaneously revealing more than what is seen at any given moment. \nRobert Mann Gallery is pleased to present Fragmentary Glimpses: Alfred Stieglitz and David Vestal in New York\, on view starting February 5. This intimate exhibition invites viewers to look at New York through the lens of two photographers who were infatuated with the city’s ever-evolving landscape: Alfred Stieglitz and David Vestal. \nIn the early 1900s\, Alfred Stieglitz hosted modern art exhibitions at his Little Galleries of the Photo-Secession—named after the Pictorialist group he helped found in 1902—and promoted photography as a legitimate art form through the pages of Camera Work. From 1903 to 1917\, this quarterly journal showcased new work by leading artists alongside art criticism and philosophical essays. While the journal primarily featured the work of others\, the October 1911 issue focused on Stieglitz’s own photographic vision and is considered one of the journal’s most important issues. \nFragmentary Glimpses presents the entire collection of images that Stieglitz published for Camera Work\, No. 36 — “snapshots” (as critics called them) of New York at one of its many turning points. Steamboats and locomotives transport people faster and further than ever before\, while airships and newly built skyscrapers usher in an era of reaching new heights. Such iconic works as The Steerage (1907)\, The Terminal (1892)\, and Spring Showers (1900) demonstrate how Stieglitz’s modernist framing and ability to render the city’s changing atmosphere—both natural and man-made—helped initiate a new direction for photography at the turn of the twentieth century. A main figure in and proponent of Pictorialism\, Stieglitz mastered the photogravure technique\, a photomechanical process that allowed for atmospheric and painterly effects while being mass produced. \nDecades later\, David Vestal photographed the city and its people living in modernity’s shadowy aftereffects. Arriving to New York in the late 1940s after studying painting at The Art Institute of Chicago\, Vestal took up photography and joined the renowned Photo League of socialist practitioners. Distinctly more steeped in aesthetic concerns than political ones\, his sensitive compositions and attention to light still skillfully capture the unsettling social realities that lingered like smog in most postwar American cities. \nThe title for this duo show comes from an essay featured in Stieglitz’s October 1911 issue of Camera Work. Referring to New York as “a vision that rises out of the sea\,” the photographer Alvin Langdon Coburn writes how the city “glimmers for a while in the sun…[then] vanishes\, but for fragmentary glimpses….” Both Stieglitz and Vestal knew intimately how their cameras could both capture the city’s insatiable hunger for progress while depicting its illuminous and hazy luster. \nView the exhibition in person and online starting February 5\, 2026. Public visiting hours are Tuesday–Friday\, 10am–6pm\, and Saturday from 11–6pm. For additional hours please make an appointment. For additional information and press materials\, please contact the gallery by email (mail@robertmann.com). \nhttps://robertmann.com/fragmentary-glimpses-stieglitz-and-vestal-in-new-york-press-release
URL:https://jamesmaherphotography.com/event/fragmentary-glimpses-alfred-stieglitz-and-david-vestal-in-new-york/
LOCATION:Robert Mann Gallery\, 508 W 26th St Suite 9F\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/stieglitz.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260409
DTSTAMP:20260310T005301Z
CREATED:20260114T041140Z
LAST-MODIFIED:20260310T005301Z
UID:10000114-1770163200-1775692799@jamesmaherphotography.com
SUMMARY:A litany for past suns: Zainab Aliyu
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to announce A litany for past suns\, a solo exhibition of works by 2025 BAXTER ST Resident\, Zainab Aliyu. On view from February 4 to April 2\, 2026\, this presentation of refigured stereograph images examines the power dynamics inherent to prevailing archival practices\, highlighting the role of technology in the silencing and misreading of lived experience\, particularly within Black communal histories. \nAliyu’s works juxtapose photographs from her familial archive with those from her broader community to create a selection of stereographic pairings\, which will be presented alongside printed matter\, installation\, text and sculpture. Historically tied to early photographic documentation and colonial ways of seeing\, stereoscopy is reworked here as a relational form that links images across place\, time and lineage rather than isolating them as data. Works attend to empathic gaps in collective memory across generational experiences marked by migration and forced displacement\, and trace how systems that organize knowledge are informed by colonial practices designed to classify and control. The stereographic images require viewers to lean in and look closely\, asking for a scale of intimate attention that counters distant and extractive gazes.  \nThis intimacy extends throughout the exhibition\, where material forms and spatial gestures reference the quiet interiors of family life shaped by what is remembered\, what is lost and what is no longer spoken. Within the installation\, domestic objects and architectural cues such as a rug\, curtain rod\, cupboard\, gate fragments\, and jewelry appear in subtle dislocation\, their familiar functions undone. Checkered floor patterns suggest rooms that recall the tiled surfaces of kitchens and bathrooms\, as well as staged West African studio interiors. Fragmented gates bearing Adinkra symbols\, alongside a Yorùbá-inspired paired staff form\, frame access as something that is negotiated. Earth-toned materials mirror the red and blue logic of the anaglyph images\, extending stereoscopy into the gallery and asking viewers to navigate memory by looking through\, around\, and between objects. \nAliyu worked with two bodies of images in parallel: hundreds of photographs scanned from her late grandmother’s home in Nigeria\, and images shared by others through an open invitation. Seeking resonances across these archives\, she initially experimented with code to organize and caption the images\, only to find that these computational processes failed to register their emotional and historical stakes. Machine-generated captions flattened context and misread lived realities\, exposing biases embedded in even the most purportedly neutral systems and reproducing long-standing erasures in the visual record of Black life. These failures are incorporated directly into Aliyu’s stereographs as traces of systems that sort without seeing\, underscoring the fiction of technological objectivity and pointing to the colonial frameworks such systems inherit. Rejecting the authority of computational interpretation\, Aliyu turned instead to a slower\, embodied method: printing each photograph\, laying them side by side on the studio floor\, and forming each pair by hand. Accompanying the images are speculative captions written from memory and oral history\, arranged alongside\, and at times redacting\, machine-generated captions. These texts interfere with one another\, not to correct the record\, but to stage a conflict between ways of knowing. This layered approach affirms that the porous nature of memory exceeds what archives and algorithms can contain. \nPositioned within a lineage of Black feminist archival critique\, A litany for past suns draws on the theoretical frameworks of scholars such as Safiya Noble\, Tina Campt\, and Saidiya Hartman\, who articulate the tensions between machine logic and ancestral memory. The project’s full title\, A litany for past suns labeled rituals / A star lit any and all possible futures\, is a bilateral anagram that mirrors the exhibition’s conceptual structure. Inspired by Nikki Giovanni’s “A Litany for Peppe” (1970) and Audre Lorde’s “A Litany for Survival” (1978)\, Aliyu positions her litany as both remembrance and call to action; it is an invitation for viewers to transform shared histories into shared futures. \nAbout Zainab Aliyu\nZainab “Zai” Aliyu is a Nigerian-American artist\, designer and cultural worker living in Brooklyn\, NY. Her work explores the cybernetic and temporal entanglements within societal dynamics to understand how all sociotechnological systems of control are interconnected\, and how we are all materially implicated through time. She draws upon her body as a corporeal archive and site of ancestral memory to craft counter-narratives through sculptures\, videos\, installations\, virtual environments\, publications\, archives\, and social practice. Zai is a 2025–28 Jerome Hill Artist Fellow\, 2023-24 NYSCA/NYFA Artist Fellow and former co-director of the School for Poetic Computation. Her work has been presented internationally at Gardiner Museum (Toronto\, Canada)\, Vienna Design Week (Vienna\, Austria)\, The Bronx Museum of the Arts (Bronx\, NY)\, Film at Lincoln Center (New York\, NY)\, Museum of Modern Art (New York\, NY)\, Smack Mellon (Brooklyn\, NY)\, Miller ICA (Pittsburgh\, PA)\, Centre for Heritage\, Arts and Textile (Hong Kong\, China)\, among others. She has been awarded residencies at Pioneer Works (New York\, NY)\, MASS MoCA (North Adams\, MA)\, Haystack Mountain School of Crafts (Deer Isle\, ME)\, The Luminary (St. Louis\, MI)\, Casa do Povo (São Paulo\, Brazil)\, and Pocoapoco (Oaxaca\, Mexico)\, among others. \nhttps://www.baxterst.org/events/a-litany-for-past-suns/
URL:https://jamesmaherphotography.com/event/a-litany-for-past-suns-zainab-aliyu/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/baxter-aliyu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260409
DTSTAMP:20260310T005328Z
CREATED:20260114T041021Z
LAST-MODIFIED:20260310T005328Z
UID:10000113-1770163200-1775692799@jamesmaherphotography.com
SUMMARY:Hard Feelings: Dean Majd
DESCRIPTION:BAXTER ST at the Camera Club of New York is proud to present Hard Feelings\, the debut solo exhibition by Palestinian-American lens-based artist Dean Majd. Curated by Marley Trigg Stewart\, BAXTER ST’s 2025-26 Guest Curatorial Recipient\, the show will be on view February 4 to April 2\, 2026. \nPrompted by a childhood friend’s sudden passing just a week after their reunion\, Majd began documenting the male dynamics within his circle – an insular graffiti crew in his hometown of Queens\, New York. Made largely at night and with point-and-shoot cameras\, the photographs oscillate between moments of revelry and violence\, creating a nuanced portrayal of masculinity\, the cyclical nature of trauma\, and the power of empathy. \nHard Feelings brings together works that offer an unflinching testament to lives deemed invisible yet demand to be seen. Majd’s comprehensive archive of the group’s rituals\, its frictions and intimacies\, began innocently as a record of truth; his lens offered a channel for their collective grief\, the impetus to deepen his burgeoning relationship with the camera.  \nMoving between documentarian and participant\, Majd complicates conventional ideas of distance\, authorship\, and complicity. Over time the boundaries between himself\, his friends\, and his camera dissolved. The tension in the images is palpable\, dominated by the emotional awareness that we as viewers have become privy to things Majd cannot unsee. Wounds cut deep\, psychic or otherwise\, but Majd’s photographs also remind us that scars are signs of healing. \nInvoking the spirituality and tenebrism of Baroque painting through deep shadows and sudden illumination\, as well as a lineage of photographers favoring diaristic intimacy over traditional documentary distance\, Majd has cultivated a visual language that is both formally rigorous and emotionally bare. Without romanticizing their experiences\, the interplay of chroma and contrast form love letters to his collaborators\, to Queens and to New York City itself.  \nPhotographed across the years before and after the COVID-19 pandemic\, Majd mythologizes the stories of lives ravaged by the ever changing nature of New York City. His lens immortalizes the passing of friends\, the chasing of ghosts\, nocturnal quests for ego death\, and masculine rites of passage – trials often faced by the men of color in Majd’s life\, crafting a legacy for those often unseen and unconsidered. Through trust\, his friends – themselves part of a lost generation – bore their cuts and tears to him as affirmations of their existences. \nIn Hard Feelings\, wounds and bruises become tender offerings. The boundary between violence and vulnerability dissipates\, with Majd’s camera insisting on presence – on seeing fully. The photographs become an acknowledgment of pain and spiritual catharsis. His empathetic eye transforms his lens into a mirror that reflects his sitters’ darkest internal conflicts\, and a space for them to face their own shadows; a place to express repressed emotions; a moment of vulnerability for those taught they must be invulnerable to survive. This odyssey resolves as an invitation for hope and healing for all those willing to engage with their hard feelings. \nHard Feelings is presented in dedication to the memory of Subash “Suba” Tamang. \nAbout Dean Majd \nDean Majd (b. 1990) is a self-taught\, lens-based artist born and based in Queens\, New York. Born to Palestinian immigrants\, he studied international relations with a focus on the Middle East at CUNY The City College of New York\, CUNY. Majd began forming his intimate and cinematic visual language after being given his first camera at seven years old by his mother. His diaristic work engages with violence as an imposed center-point of one’s life\, focusing on repressed\, negative emotions within contemporary masculinity in relation to addiction and self-destruction. His work also explores the complexities of the Arab-American dichotomy and the Palestinian diaspora against apartheid\, and how they overlap. \nMajd has been profiled by Aperture\, MATTE Magazine\, AnOther Magazine\, and GQ Middle East. His editorial work has appeared in The New York Times\, Vogue\, and New York Magazine among others. His work has mostly recently been exhibited at the Museum of the City of New York in the exhibition New York Now: Home\, as well as lectured at the International Center of Photography. In fall 2025 he will be an artist-in-residence at the Center for Photography at Woodstock\, and he is one of the recipients of the 2025 En Foco Fellowship Award. He is passionate about cinema\, immensely devoted to his friends (his chosen family)\, and a proud New Yorker. He believes that love\, above all else\, is the driving force behind everything he does. \nAbout Marley Trigg Stewart \nMarley Trigg Stewart (b. Oakland\, CA) is an artist whose practice explores authorship and absence through personal histories. Trigg Stewart’s work has been featured in MATTE Magazine and Musee Magazine\, and his writing has been featured in Aperture. He completed his Bachelor of Fine Arts in Photography at Pratt Institute\, and is currently based in Brooklyn\, New York. \nhttps://www.baxterst.org/events/hard-feelings/
URL:https://jamesmaherphotography.com/event/hard-feelings-dean-majd/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/baxter-majd.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260131
DTEND;VALUE=DATE:20260503
DTSTAMP:20260310T011900Z
CREATED:20260310T011900Z
LAST-MODIFIED:20260310T011900Z
UID:10000127-1769817600-1777766399@jamesmaherphotography.com
SUMMARY:Claudio Perna: Idea como Arte
DESCRIPTION:CURATORS\nOlivia Casa\nClara Prat-Gay\n\n\n\n\n \n\n\n\nThe Institute for Studies on Latin American Art (ISLAA) is pleased to announce Claudio Perna: Idea como Arte\, the first solo exhibition in New York dedicated to the Venezuelan conceptual artist Claudio Perna (1938–1997). Across a complex and prolific practice ranging from photocopies and Polaroids to collaged maps and conceptual photography\, Perna’s work examined the boundary between material record and reality across art and science. Featuring more than forty works from several key series\, this exhibition highlights his exploration of documentation\, authorship\, and national identity\, and experimental approach to artistic production\, between 1968 and the early 1990s. \nBorn in Milan\, Perna moved to Venezuela as a teenager and studied geography\, which informed his explorations of place and nationhood across his work. In his series of collaged maps of Venezuela\, on view in this exhibition\, he challenged the notion of national identity as fixed\, presenting it instead as shaped by personal memory and rooted in lived experience. Starting in the late 1960s\, he launched a series of conceptual experiments with photographic technology\, in which he investigated the media through which information circulates and accumulates. These works included orchestrated photographic scenes in Fotos dirigidas (1967–68)\, photocopied self-portraits and impressions of found objects in Autocopias (1973–75)\, and performative documentation in Fotoinformes (1976–90) and Alineamientos (1976). \nBy tracing Perna’s conception of the “idea as art”—a commonly used term and unifying principle of the diverse strategies of conceptualism—this exhibition positions his work within an international history of conceptualism and foregrounds a moment of radical artistic experimentation in Venezuela\, as artists expanded the languages of abstraction\, embraced experimental media\, and pursued alternative art forms. In doing so\, it highlights Perna’s expansion of artistic production beyond the art object and invites viewers to consider how knowledge is constructed through acts of looking\, recording\, and reinterpreting—concerns that continue to resonate today amid ongoing debates regarding the circulation of information and the authority of images. \nOn view from January 31 to May 2\, 2026\, Claudio Perna: Idea como Arte is curated by Olivia Casa with Clara Prat-Gay. \nImage Caption: Claudio Perna\, Idea como Arte (Idea as Art)\, 1976. © Fundación Claudio Perna \n\n\n\n\n\nhttps://islaa.org/exhibitions/claudio-perna-arte-como-idea/\n\n\n\n 
URL:https://jamesmaherphotography.com/event/claudio-perna-idea-como-arte/
LOCATION:Institute for Studies on Latin American Art (ISLAA)\, 142 Franklin St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/claudio-perna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20260318T191631Z
CREATED:20251202T050020Z
LAST-MODIFIED:20260318T191631Z
UID:10000106-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:Eugène Atget: The Making of a Reputation
DESCRIPTION:The International Center of Photography presents Eugène Atget: The Making of a Reputation\, curated by ICP’s creative director David Campany. This exhibition takes a new approach to the story of Atget’s career\, drawing particular attention to the role that Berenice Abbott played in shaping Atget’s posthumous rise in influence. \nAbout Eugène Atget \nEugène Atget (1857-1927) was a French photographer best known for his photographs of Paris and its environs. He supplied studies for painters\, architects\, and stage designers\, while also making formally complex pictures. Atget’s subjects included everything from grand buildings to typical street scenes\, storefronts and workers. His photographs\, often taken in the early hours\, are notable for their diffuse light and wide views that give a sense of enigma and mystery. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of widespread modernization projects. \nAtget drew the admiration of a variety of artists\, most notably Man Ray who even used one of Atget’s photographs on the cover of the magazine La Révolution surréaliste. The photographer Berenice Abbott preserved many of Atget’s prints and negatives. She exhibited his work\, wrote about it\, and for decades championed Atget as a forerunner of modern photography. \nhttps://www.icp.org/exhibitions/eugene-atget
URL:https://jamesmaherphotography.com/event/eugene-atget-the-making-of-a-reputation/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/icp-atget.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20251202T045744Z
CREATED:20251202T045744Z
LAST-MODIFIED:20251202T045744Z
UID:10000105-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:Latitudes: Nuits Balnéaires and François-Xavier Gbré
DESCRIPTION:The International Center of Photography presents Latitudes\, an exhibition in partnership with the Fondation d’entreprise Hermès and the Fondation Henri Cartier-Bresson in Paris. In its current iteration\, Latitudes highlights new work by two laureate-artists from Côte d’Ivoire– Nuits Balnéaires and François-Xavier Gbré. \nAbout Latitudes \nLaunched in 2024\, Latitudes is a Fondation d’entreprise Hermès program developed in partnership with the Fondation Henri Cartier-Bresson in Paris and the International Center of Photography (ICP) in New York. \nIt broadens the scope of Immersion\, the former French-American photography commission created in 2014 with the same partners\, a cross-residency between France and the United States. \nThe new program supporting contemporary creation takes its name from a geographical concept\, affirming its ambition to shed light on artists from scenes that are still underrepresented on the international stage. In practice\, the Fondation d’entreprise Hermès\, the Fondation Henri Cartier-Bresson and the ICP select a country from which photographers are invited to submit a project. A jury composed of representatives from the three institutions selects the annual laureate. \nThe chosen photographer receives a grant to produce a new series. The resulting work is exhibited in Paris at the Fondation Henri Cartier-Bresson\, in New York at the ICP\, and finally in the laureate’s home country. \nCôte d’Ivoire is the first country to be honored in the two-year cycle inaugurated in 2024. \nAbout Nuits Balnéaires \nMultidisciplinary artist and poet Nuits Balnéaires was born and raised in Abidjan\, into a family with Akan Agni-Bona and Malinké origins. With intimate connections to both peoples’ traditions\, culture and spirituality\, his work creates a parallel space-time beyond the constraints of geography\, while embracing the universality of oceans as the connective tissue between worlds. \nNuits Balnéaires cultivates powerful ties with the energy of the Gulf of Guinea and  its landscapes\, hence the omnipresence of water in his photographic practice\, films and poetry. Haunted by the duality of life and death\, and the possibility of communication between these states\, his works convey a euphoric sense of tranquillity that feels both classical and contemporary. \nIn 2019\, Nuits Balnéaires settled in Grand-Bassam\, Côte d’Ivoire\, to develop his artistic practice\, drawing on his years as a fashion and conceptual photographer. He secured  a one-year bursary in visual journalism with the World Press Photo Foundation\, and was among the winners of a 2020 call for projects from the Goethe-Institut and the Prince Claus Fund\, which supports cultural and artistic responses to environmental change. Nuits Balnéaires’s work has been exhibited at Art X Lagos\, Paris’s 1-54 Contemporary African Art Fair\, FNB Art Johannesburg\, and in numerous exhibitions across Côte  d’Ivoire\, Canada\, the US\, the UK\, France\, the Netherlands and Australia. \nAbout François-Xavier Gbré \nBorn in 1978 in Lille\, France. François-Xavier Gbré lives and works between La Rochelle (France) and Abidjan (Côte d’Ivoire). \nSteeped in time and geography\, Gbré’s work draws on the language of architecture as a witness to memory and social change. From colonial remains to landscapes redefined by current events\, Gbré explores territories and revisits History. The constant dialogue with his environment leads him to use different scales and exhibition methods\, whether crafting meticulous installations based on thorough investigations of the land\, or using architecture itself to make photography resonate through a physical relationship with the viewer or the public space. \nHis work has been shown in Paris and Abidjan at the Cécile Fakhoury Gallery\, which represents him\, at the Dakar Biennale in Senegal\, the Venice Biennale in Italy\, in Madagascar\, Nigeria\, the United States\, and various European countries. \nHis works are included\, among others\, in the collections of the Centre Pompidou (Paris\, France)\, the Smithsonian Institution (Washington\, USA)\, Tate Modern (London\, UK)\, the Museum of Modern Art (New York\, USA)\, the Walther Collection (Neu-Ulm\, Germany – New York\, USA)\, the Philadelphia Museum of Art (USA)\, the Collection of the Rencontres de la photographie d’Arles (France)\, and the FNAC – Fonds National d’Art Contemporain (France). \nIn 2020\, François-Xavier Gbré was awarded the Louis Roederer Discovery Award at the Rencontres de la photographie d’Arles. In 2024\, he becomes the first laureate of the Fondation d’entreprise Hermès Latitudes program. \nhttps://www.icp.org/exhibitions/latitudes \n 
URL:https://jamesmaherphotography.com/event/latitudes-nuits-balneaires-and-francois-xavier-gbre/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/icpfrancoisxavier.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20251202T045835Z
CREATED:20251202T045106Z
LAST-MODIFIED:20251202T045835Z
UID:10000104-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:HARD COPY New York (curated by Aaron Stern & David Campany)
DESCRIPTION:The International Center of Photography presents HARD COPY NEW YORK\, an expanded iteration of Aaron Stern’s ongoing project exploring the contemporary use of the photocopied image. Following previous iterations\, including a 2025 show in Los Angeles\, the group exhibition uses the visual language of the copy machine to evoke nostalgia for a time of more deliberate picture making. \nIn our current moment when digital images proliferate\, fewer physical copies of images are made or exhibited. Through this show\, curators David Campany and Aaron Stern aim to reassert photography’s inherent power: its ability to offer a profound\, democratic\, and tangible experience. \nAbout Aaron Stern  \nAaron Stern is a Manhattan-based curator\, artist and author working between the Americas and Europe. His photographs\, books\, writing and curatorial projects have appeared in publications and institutions such as RoseGallery\, Webber Gallery\, WSA\, Magenta Plains\, Dashwood Books\, Perrotin\, Photo Saint Germain\, International Center for Photography\, Paris Photo\, Los Angeles Art Book Fair\, Index Art Fair\, Purple Magazine\, The Paris Review\, Vogue\, The New York Times\, Dazed&Confused\, and Interview Magazine.  \nArtists \nDaniel Arnold \nDavid Black \nJohn Divola \nJerry Hsu \nShaniqwa Jarvis \nAri Marcopoulos \nRyan McGinley \nThomas Ruff \nCollier Schorr \nStephen Shore \nhttps://www.icp.org/exhibitions/hard-copy-new-york
URL:https://jamesmaherphotography.com/event/hard-copy-new-york-curated-by-aaron-stern-david-campany/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/Aaron-Stern-David-Campany-ICP-Show.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260204
DTSTAMP:20251203T225521Z
CREATED:20251202T064927Z
LAST-MODIFIED:20251203T225521Z
UID:10000111-1769644800-1770163199@jamesmaherphotography.com
SUMMARY:4th Annual Soho Photo Gallery Exhibition
DESCRIPTION:Mark your calendars! APA New York is proud to announce our 4th Annual Juried Photography Exhibition opening late January 2026 at the new Chelsea location of Soho Photo Gallery. \nFounded in 1971 by New York Times photojournalists and avant-garde artists\, Soho Photo Gallery is the city’s longest-running cooperative photography gallery – a space that continues to champion creativity\, experimentation\, and community. \nThis year’s exhibition will be juried by Amanda Hajjar. Amanda is a curator based in the New York City area with over fifteen years of experience in the art and design field. She currently serves as Project Lead and Curator at the American Federation of Arts\, where she develops and produces traveling exhibitions for museums across the country. Previously\, she was the Founding Artistic Director of Fotografiska New York\, leading the museum’s launch and establishing its exhibition program. Earlier in her career\, she was an Artist Liaison at Gagosian\, collaborating with artists and estates—including the Richard Avedon Foundation—and managed more than fifty exhibitions and contributed to six exhibition catalogues.  \nThe show will feature around 75 works from artists across the country\, spanning genres such as editorial\, fine art\, documentary\, fashion\, landscape\, portraiture\, and experimental photography. Together\, these images will celebrate the depth and diversity of contemporary photographic practice. \nJoin us for the opening reception on January 29\, 2026\, at Soho Photo Gallery\, and discover an inspiring collection of work from some of today’s most talented photographers. \nhttps://ny.apanational.org/events/entry/4th-annual-curated-photography-exhibition-at-soho-photo-gallery/
URL:https://jamesmaherphotography.com/event/4th-annual-soho-photo-gallery-exhibition/
LOCATION:Soho Photo Gallery\, 539 W 23 St\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/soho-photo-gallery.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260122
DTEND;VALUE=DATE:20260329
DTSTAMP:20260310T011239Z
CREATED:20260310T011239Z
LAST-MODIFIED:20260310T011239Z
UID:10000124-1769040000-1774742399@jamesmaherphotography.com
SUMMARY:North Light
DESCRIPTION:https://www.houkgallery.com/exhibitions/140-north-light/works/
URL:https://jamesmaherphotography.com/event/north-light/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/NorthLight.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260122
DTEND;VALUE=DATE:20260322
DTSTAMP:20260114T041903Z
CREATED:20260114T041903Z
LAST-MODIFIED:20260114T041903Z
UID:10000116-1769040000-1774137599@jamesmaherphotography.com
SUMMARY:Between Order and Chaos: André Kertész and M.C. Escher
DESCRIPTION:Bruce Silverstein Gallery is pleased to announce Between Order and Chaos: André Kertész and M. C. Escher\, an exhibition that brings together two extraordinarily influential artists who each uniquely and independently redefined how visual reality is perceived. Though one worked with the camera and the other with the tools of printmaking\, both artists pursued parallel investigations into perception\, geometry\, and illusion\, treating order and chaos not as abstract opposites but as interdependent conditions through which reality is structured and transformed. The exhibition will feature a focused selection of original prints by M. C. Escher alongside vintage photographs by André Kertész spanning his eight-decade career\, many of which have never before been exhibited. \nBorn within four years of one another\, André Kertész (Budapest\, 1894–New York\, 1985) and M. C. Escher (Leeuwarden\, 1898–Laren\, 1972) each pursued independent paths apart from the dominant artistic movements of their time. Driven by deeply personal ways of seeing that resisted categorization\, they approached reality as something open to reorganization and reinterpretation. Both were shaped by displacement and solitude; Kertész moved from Hungary to Paris and later to New York\, while Escher traveled extensively through Italy and Spain before returning to a changed Netherlands. From these experiences emerged an outsider’s point of view\, enabling each to recognize the extraordinary where others might have seen the ordinary and contributing to a detached yet deeply perceptive engagement with the world. \nIn their work\, structure is both revealed and destabilized. Through his extraordinary artistry and skillfully rendered prints\, Escher isolates patterns and systems that ordinarily exist beyond human perception—ripples\, reflections\, recursive spaces—and renders them logical and intelligible\, transforming architectural order into disorienting\, impossible constructions that challenge spatial logic. In Ripple (1950)\, Escher captures a fleeting moment as ripples spread across a pool of water\, reflecting leafless branches and a full moon\, transforming motion that ordinarily escapes direct human perception into a precise\, legible pattern. In Order and Chaos (1950)\, he centers a transparent geometric form—a glass sphere combined with a dodecahedron—as a momentary embodiment of order\, surrounded by fractured and irregular elements that suggest disorder\, making visible his belief that structure and instability are inseparable and continually give rise to one another. \nKertész\, by contrast\, achieves a comparable sense of visual tension in his photographs by employing unconventional vantage points\, reflection\, distortion\, and radical cropping\, demonstrating how working within physical constraint can yield a richness and complexity of vision equal to that of constructed imagery. Where Escher constructs impossible realities\, Kertész extracts improbable ones\, reorganizing the visible world into images that are at once precise and uncanny. In Puddle\, Empire State Building (1967)\, Kertész discovers a moment where reality loosens\, as reflection quietly destabilizes one of the most ordered symbols of the modern city. Deforming nude reflections from his Distortions series and unconventional angles from his Fifth Avenue windows find resonance with Escher’s mirrored spheres\, infinite staircases\, and recursive spatial worlds. \nThrough different means\, both artists challenge the stability of representation and invite viewers to question the reliability of what they see. The presence of carefully observed real-world elements is essential\, as this grounding allows moments of visual disruption or improbability to register as plausible rather than purely abstract. In Escher’s work\, tension emerges through the collision of exacting real-world detail\, strict order\, and fantastical construction\, generating a sense of drama and wonder. In Kertész’s photographs\, the same tension unfolds within lived experience\, producing a quieter instability in which poetic meaning emerges from scenes that might otherwise appear ordinary. \nTheir influence radiated outward in distinct yet parallel ways. Escher’s rigorous explorations of impossible architecture\, recursion\, and visual instability informed the imagination of artists\, architects\, filmmakers\, and theorists alike; figures such as Bridget Riley\, Zaha Hadid\, Christopher Nolan\, and Roger Penrose have acknowledged his impact on their thinking about perception\, space\, and paradox. Kertész’s influence extended through multiple generations of image-makers\, shaping the development of modern photography and the broader visual culture it helped define\, as photographers including Brassaï\, Henri Cartier-Bresson\, and Lee Friedlander recognized his influence on their understanding of composition\, intuition\, and the poetic possibilities of everyday life. Working through media long situated outside the traditional hierarchy of painting and sculpture\, both artists helped redefine the possibilities of visual experience\, demonstrating how practices once considered marginal could exert lasting influence across disciplines. \nFor both André Kertész and M. C. Escher\, resonance emerges from the space between order and chaos\, where real-world detail meets imaginative construction and visual logic gives way to uncertainty in perception. In their work\, structure coexists with uncertainty as an essential condition of seeing. Viewed together\, their work asks us to look again at what appears certain. \nhttps://brucesilverstein.com/exhibitions/229-between-order-and-chaos-andre-kertesz-and-m./overview/ \n 
URL:https://jamesmaherphotography.com/event/between-order-and-chaos-andre-kertesz-and-m-c-escher/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/silverstein.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260115
DTEND;VALUE=DATE:20260309
DTSTAMP:20260114T041509Z
CREATED:20260114T041509Z
LAST-MODIFIED:20260114T041509Z
UID:10000115-1768435200-1773014399@jamesmaherphotography.com
SUMMARY:2025 Paris Photo–Aperture PhotoBook Awards Shortlist
DESCRIPTION:Paris Photo and Aperture are pleased to announce the 2025 Paris Photo–Aperture PhotoBook Awards Shortlist exhibition at Printed Matter—an annual celebration of the photobook’s enduring role within the evolving narrative of photography. Now in its thirteenth year\, the awards recognize excellence in three major categories of photobook publishing: First PhotoBook\, PhotoBook of the Year\, and Photography Catalog of the Year. \nFor the 2025 awards\, over one thousand books were submitted from fifty-five countries. Two juries of international team members deliberate to determine the winners. For the 2025 awards\, a shortlist jury met in New York\, September 17 to 19\, for three concentrated days of review and deliberation. The team included: Brendan Embser\, senior editor\, Aperture; Florian Koenigsberger\, technologist and photographer; Paul Moakley\, executive producer\, The New Yorker; Anna Planas\, artistic director\, Paris Photo; and Keisha Scarville\, artist. \nOn November 13\, a final jury\, on site at Paris Photo\, selected the winners from among the thirty-seven shortlisted titles. The team included Coralie Gauthier\, director of programming\, communications\, and events\, Librairie 7L; Shanay Jhaveri\, head of visual arts\, Barbican Centre; Manuel Krebs\, designer and publisher\, NORM; Emily LaBarge\, contributing writer\, The New York Times; and Guinevere Ras\, curator\, Nederlands Fotomuseum. \n“Across the thirty-seven books that we had the incredible opportunity to spend time with and deliberate on\, some things that surfaced were a sense of investigating the archive and intergenerational conversations\,” says juror Shanay Jhaveri. “The shortlist and the winners show the vitality of the form of the book itself\, one that is essential today in a culture where images have been dematerialized.” \nhttps://aperture.org/exhibitions/2025-paris-photo-aperture-photobook-awards-shortlist-printed-matter/
URL:https://jamesmaherphotography.com/event/2025-paris-photo-aperture-photobook-awards-shortlist/
LOCATION:Printed Matter\, 231 11th Ave\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/paris-photo-awards.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260108
DTEND;VALUE=DATE:20260301
DTSTAMP:20260114T042050Z
CREATED:20260114T042050Z
LAST-MODIFIED:20260114T042050Z
UID:10000117-1767830400-1772323199@jamesmaherphotography.com
SUMMARY:Arthur Tress | The Ramble
DESCRIPTION:CLAMP is pleased to announce “The Ramble\,” an exhibition of photographs by Arthur Tress\, presenting a previously unseen body of work documenting a New York City clandestine queer space in the late 1960s. \nToward the end of 1968\, at the age of twenty-eight\, Tress began bringing his Hasselblad camera to the Ramble\, an overgrown\, derelict woodland in the heart of Central Park that had become a discreet gathering place for gay men and queer people seeking social and erotic contact. Reflecting on the site in 2024\, Tress remarked: “It was like a decaying pier in the city. I was always attracted to that kind of urban neglect.” \nFrom his apartment on 72nd Street and Riverside Drive\, Tress could reach the Ramble in ten minutes\, often passing through on his way to professional appointments or museum exhibitions in the city. The site became both subject and backdrop for Tress’s parallel projects\, including “Open Space in the Inner City\,” a commissioned environmental portfolio\, and a series of surrealist still lifes staged within the Ramble. His photographs from the Ramble range from surreptitious shots of men from a distance to carefully posed tableaux\, exploring homoerotic fantasy\, longing\, and human vulnerability. As Tress explained in conversation with Jordan Tannahill: “I wanted to create a kind of poetic documentary that captured both the real and the imagined\, the danger and the beauty of that hidden world.” \nThe Ramble series also reflects Tress’s ethnographic sensibilities. Having traveled in the 1960s to document the Maya\, Sámi\, and Dogon peoples\, Tress approached this New York subculture with both intimacy and analytical rigor. He conceptualized the project in terms of societal critique\, expressing an interest in acting as “the George Grosz of gay culture\,” offering a sympathetic analysis of his own community while observing it as an outsider. (Tress studied life drawing with Grosz at the Art Students League in New York in 1961.) Jackson Davidow explains: “His intention . . . was not to romanticize cruising\, but rather to treat it as a complex phenomenon of metropolitan gay life.” The series captures both the choreography of cruising and the psychological realities of desire\, secrecy\, and danger\, situating these encounters within the broader landscape of Manhattan at the dawn of gay liberation. \nTress’s compositions draw specific inspiration from painting\, referencing artists such as George Grosz\, Pavel Tchelitchew\, and George Tooker. Scenes echo the Arcadian courtship scenes of Antoine Watteau while simultaneously emphasizing the loneliness and precariousness of loitering and anonymous encounters. \nThe photographs remained under wraps for decades\, considered too taboo to publish or exhibit at the time. Today the series emerges as a landmark visual record of queer life in New York City anticipating later explorations of outdoor cruising by contemporary photographers worldwide. It also underscores Tress’s early mastery of a surrealist-inflected documentary style\, bridging the real\, the staged\, and the psychologically charged. \nArthur Tress was born in 1940 in Brooklyn\, New York. Over the past six decades\, he has published numerous monographs\, and his work is held in the collections of most major public museums across the United States. His traveling retrospective\, “Fantastic Voyage\,” was organized by the Corcoran Gallery of Art in 2001\, and “Rambles\, Dreams\, and Shadows” at The Getty in 2025 chronicled the innovative artist’s early career. Across the decades\, Tress has combined meticulous staging\, narrative depth\, and ethnographic observation\, influencing generations of photographers interested in both constructed imagery and social documentation. \nCLAMP is honored to present “The Ramble\,” offering the public its first sustained look at this pivotal\, previously private series\, inviting reflection on its artistic\, historical\, and social significance. The exhibition coincides with the publication of Arthur Tress’s new monograph titled The Ramble 1969 NYC (STANLEY/BARKER) with an essay by Jackson Davidow. \nhttps://clampart.com/2025/12/the-ramble
URL:https://jamesmaherphotography.com/event/arthur-tress-the-ramble/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/clamp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20260201
DTSTAMP:20251203T225327Z
CREATED:20251202T063540Z
LAST-MODIFIED:20251203T225327Z
UID:10000108-1764892800-1769903999@jamesmaherphotography.com
SUMMARY:Danny Lyon: The Texas Prison Photographs
DESCRIPTION:Howard Greenberg Gallery will present Danny Lyon: The Texas Prison Photographs from December 5\, 2025 through January 31\, 2026. A landmark depiction of incarceration\, the exhibition features photographs\, films\, drawings\, and ephemera from 1967-68. The Texas Prison Photographs marks acclaimed photographer and filmmaker Danny Lyon’s first show with Howard Greenberg Gallery following the announcement of the Gallery’s representation of Lyon in April 2025. The exhibition will open with a reception on December 5 from 5:30 to 7:30 p.m. with the artist in attendance. \nDanny Lyon revolutionized documentary photography in the 1960s with his radical participatory approach\, notably in the Civil Rights Movement and with the Chicago Outlaws motorcycle club\, which led to his book\, The Bikeriders. His New Journalism style was rooted in involvement\, as he explained: “I was a participant who also happened to be a photographer.” \nIn 1967\, Lyon gained unprecedented access to seven Texas penitentiaries for 14 months\, aiming to record the reality of incarceration. He was free to enter the prisons at any time of the day or night\, and photographed men in their cells\, in the fields and factories where they worked\, eating at the cafeteria\, in isolation and during shakedowns. This resulted in raw\, empathetic images of marginalized individuals\, published in 1971 as the highly regarded photobook Conversations with the Dead. Known for his immersive approach\, Lyon’s style broke from traditional journalism by blending personal perspective with documentary storytelling. Revolutionary for its time\, Conversations with the Dead was among the first photobooks to incorporate ephemera\, setting a new standard in journalism and photography and influencing generations. \nPresenting Lyon’s record of Texas prisons\, the exhibition will showcase primarily vintage prints alongside select modern work and original artwork by the incarcerated\, as well as drawings\, letters\, prison-related documents\, audio interviews\, and 16mm film footage. Taken as a whole\, the exhibition offers not only a rare and intimate glimpse into life inside seven Texas penitentiaries in the late 1960s but highlights the relationships Lyon built with inmates. On view for the first time\, the exhibition will also present unpublished pictures by Lyon from his visits to the Goree Unit\, Texas’s women’s penitentiary. \nAs the copy on the back of the paperback edition of Conversations with the Dead noted\, “This shattering portrait of oppression and futility must be recognized as a plea to American Society—the ultimate warden of all our prisons.” \n“I kept wondering what the story was\, what wasn’t in the papers yet\, what I could discover and make public with my pictures\,” Lyon has stated. “Texas would change my life.” \nConcurrent with the exhibition at Howard Greenberg Gallery\, Lyon’s films\, including Willie (1985) and his films about undocumented Mexican workers\, will be presented at Metrograph and the Roxy Cinema. \nAbout Danny Lyon \nDanny Lyon was born in Brooklyn in 1942 and grew up in Queens. He bought his first camera during a summer trip in Germany before starting at the University of Chicago. In 1962 he hitchhiked to Cairo\, Illinois\, to begin his record of the civil rights movement. He became the first photographer for the Student Nonviolent Coordinating Committee (SNCC) and attended most major civil rights events\, becoming friends and roommates with John Lewis. In 1965\, he spent two years with the Chicago Outlaw Motorcycle Club\, which resulted in the acclaimed book The Bikeriders (Macmillan\, 1968; Twin Palms\, 1997; Chronicle\, 2003; Aperture\, 2014). In 1967\, he moved to Texas to work in the penitentiary system and published Conversations with the Dead (Henry Holt and Co.\, 1971; Phaidon\, 2015). After Texas he moved to New York and lived with the photographer and filmmaker Robert Frank. They formed a company\, Sweeney Films\, and Lyon turned his focus to non-fiction films. Lyon moved to New Mexico in 1970\, then to upstate New York in 1987. In 2023 The Bikeriders was released as a major motion picture. His photography can be found in the collections of major museums including the Metropolitan Museum of Art\, Museum of Modern Art\, and Whitney Museum of American Art\, New York; National Gallery of Art\, Washington\, DC; and the Art Institute of Chicago. Lyon is an active blogger at bleakbeauty.com; his IG is Dannylyonphotos2. He currently lives and works in New York City and New Mexico. \nhttps://www.howardgreenberg.com/exhibitions/danny-lyon
URL:https://jamesmaherphotography.com/event/danny-lyon-the-texas-prison-photographs/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/lyon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251204
DTEND;VALUE=DATE:20260301
DTSTAMP:20260114T042953Z
CREATED:20260114T042953Z
LAST-MODIFIED:20260114T042953Z
UID:10000119-1764806400-1772323199@jamesmaherphotography.com
SUMMARY:Graciela Iturbide: Vintage
DESCRIPTION:(Collaboration with Rose Gallery) \nNEW YORK — Graciela Iturbide: Vintage\, on view at Throckmorton Fine Art from December 4\, 2025\, through February 28\, 2026\, focuses on recently discovered works created by the artist between the late 1960s and early 1980s. The exhibition offers a profound exploration of Iturbide’s early artistic journey and her deep immersion in the diverse cultures of her homeland of Mexico. Having trained under the renowned Mexican photographer Manuel Álvarez Bravo\, Iturbide developed a signature style that blends a documentary approach with a deeply personal and poetic vision\, capturing the complexities\, rituals\, and spirit of Mexico in powerful\, evocative images. She was recently awarded the 2025 Princess of Asturias Award for the Arts\, .an honor that recognizes her five-decade career capturing Mexico’s cultural essence and global human experiences. A concurrent retrospective\, Graciela Iturbide: Serious Play\, is on view at the International Center of Photography in New York through January 12\, 2026. The exhibition at Throckmorton Fine Art will open with a reception on December 4 from 6-8 p.m. \nA talk with the artist will be held at the gallery on December 9 from 6-8 p.m. Graciela Iturbide: Vintage\, presented in collaboration with ROSEGALLERY\, Santa Monica\, will feature vintage prints of iconic images from her foundational series\, including her work with the indigenous Seri people in the Sonoran Desert\, where she documented their daily lives and customs\, including the powerful Mujer Ángel\, Desierto de Sonora\, 1979 (Angel Woman\, Sonoran Desert). Also included are images from her long stay in Juchitán\, Oaxaca\, capturing the strength and resilience of the Zapotec women in their matriarchal society\, a project considered central to her genius. These early\, gelatin silver prints\, developed by Iturbide in the darkroom\, showcase her masterful use of natural light and shadow\, creating a raw and haunting quality that she believes is “more truthful” to her subjects. \nBridging documentary realism and poetic symbolism\, themes of life and death\, tradition and modernity\, and the interplay of indigenous and Spanish heritages run throughout the exhibition\, offering nuanced insights into a nation in constant transformation. \nAbout Graciela Iturbide: Born in 1942 in Mexico City\, Graciela Iturbide abandoned film studies in 1969 to train with her photography mentor Manuel Álvarez Bravo\, becoming his assistant. Bravo\, who died at 100 in 2002\, was one of the most important figures in 20th century Latin American photography. Iturbide went on to take photographs in many countries — including in Cuba\, Germany\, India\, Madagascar\, Hungary\, France and the U.S. — but has always remained deeply rooted in Mexico’s cultural landscape. A late 1970s project documenting Mexico’s Seri and Juchitán communities in the Sonoran Desert yielded her seminal 1989 book “Juchitán de las Mujeres\,” showcasing matriarchal Zapotec life. \nIturbide is also recognized for her series depicting Frida Kahlo’s bathroom\, shot 20 years ago at the Casa Azul (Frida Kahlo Museum) in Coyoacán. Some of her photos of Kahlo’s prosthetic leg\, corsets and other medical objects (needed after she suffered traumatic injuries in a 1925 bus-streetcar collision) were shown in the 2023 exhibit “Kahlo Without Borders.” Exhibitions at the Centre George Pompidou in Paris\, San Francisco’s Museum of Modern Art and the Hokkaido Museum of Photography in Japan cemented her global stature. Her commitment to honest\, evocative storytelling has made her a pivotal figure in contemporary photography\, earning her the 2025 Princess of Asturias Award for the Arts. \nhttps://throckmorton-nyc.com/
URL:https://jamesmaherphotography.com/event/graciela-iturbide-vintage/
LOCATION:Throckmorton\, 145 E 57th St\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/throckmorton.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251128
DTEND;VALUE=DATE:20260330
DTSTAMP:20250908T004437Z
CREATED:20250908T004437Z
LAST-MODIFIED:20250908T004437Z
UID:10000067-1764288000-1774828799@jamesmaherphotography.com
SUMMARY:Stirring the Melting Pot: Photographs from The New York Historical Collection
DESCRIPTION:View the immigrant experience in New York through the faces and places photographers have captured over time. \n\n\n\n\n\nOur new exhibition mines the vast photography collections of the Patricia D. Klingenstein Library as a lens to view the immigrant experience in New York through the faces and places photographers have captured over time. Featuring more than 100 photographs and objects\, the exhibition explores how immigrants transformed the city as a whole and created communities in their new home. Among the highlights are photographs that document the impact of the 1904 General Slocum steamboat disaster on one family\, illustrating how the tragedy reshaped a community and city neighborhoods\, as well as images spanning the 20th century that capture a vast range of immigrant life. Photographs show children at play and in school\, seniors at recreational centers\, workers in sweatshops and factories\, families at home\, and visitors to festivals and parades—all making a life for themselves after leaving places like Bosnia\, Cambodia\, China\, Cuba\, Ethiopia\, Germany\, Greece\, Haiti\, Italy\, Philippines\, Russia\, Ukraine\, and Vietnam\, among others. Depictions of Greek Orthodox churches\, Cambodian Buddhist temples\, Jewish synagogues\, and Sikh temples highlight the city’s diverse faiths\, while images of street vendors and storefronts chart how food has played a transformative role in New York’s landscape. \nCurated by Valerie Paley\, Senior Vice President and Sue Ann Weinberg Director of the Patricia D. Klingenstein Library\, with Keren Ben-Horin\, Curatorial Scholar. \nJoin us at The New York Historical—both in person and online—for a suite of exhibitions\, programs\, and a digital project called On Our 250th that has a nationwide coalition of history museums inviting Americans to share their hopes for our democracy. \n\n\n\n\n\n\n\n\n\n\n\n\n\nExhibitions at The New York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\, the Evelyn & Seymour Neuman Fund\, the New York City Department of Cultural Affairs in partnership with the City Council\, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor. \n\n\n\n\n\n\n\n\nhttps://www.nyhistory.org/exhibitions/stirring-the-melting-pot-photographs-from-the-new-york-historical-collection \n 
URL:https://jamesmaherphotography.com/event/stirring-the-melting-pot-photographs-from-the-new-york-historical-collection/
LOCATION:The New York Historical Society\, 170 Central Park West\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/aC8-pCdWJ-7kSc6w_ArrivinginAmerica-HesterStreetMarketatNorfolk.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251125
DTEND;VALUE=DATE:20260323
DTSTAMP:20260310T012847Z
CREATED:20260310T012847Z
LAST-MODIFIED:20260310T012847Z
UID:10000130-1764028800-1774223999@jamesmaherphotography.com
SUMMARY:Resistance in Memory - Visions of Sudan
DESCRIPTION:Exhibiting artists: Suha Barakat | Altayeb Morhal | Mohamed Zakaria | Fakhr Aldein | Ammar Yassir | Abdelsalam Abd Allah | Marwan Mohamed | Altayeb Abd Allah | Jood Elsheikh | Mohamed Abuagla | Shaima Merghani | Al Mujtaba Ahmed  \n  \nResistance in Memory: Visions of Sudan is a group photography exhibition presenting 42 works by 12 emerging Sudanese photographers\, including six still residing in Sudan. Structured chronologically across nine thematic axes\, the exhibition charts the arc from the 2019 revolution through the ongoing war\, exile\, displacement\, and enduring hope\, offering intimate and urgent visual narratives from the Sudanese struggle.  \nDubbed ‘The Forgotten Crisis’ by TIME magazine\, the conflict in Sudan is considered one of the largest humanitarian crises known to date. The lives claimed by mass casualty incidents and famine are manifold\, the number of those displaced in the millions—and yet\, much of the world turns a blind eye to the devastation and injustice.  \nResistance in Memory: Visions of Sudan examines the memory of an ever-changing Sudan and the strength and resilience of its people who refuse to be forgotten or defined by those beyond its borders. The photographs draw from the enduring memory of 2019\, when men and women took to the streets seeking revolution\, only to have it thwarted by warlords in a continuous coup d’état. It also draws from the memory of families forced to make the painful choice of who leaves in exile and who stays to wait for peace. Deep within these remembrances\, a dialogue develops. Between past and present\, between generations\, and the hope of those displaced again and again.  The Africa Center’s presentation of Resistance in Memory is curated and edited by Edith Arance\, Director\, Galería Sura\, in collaboration with Evelyn Owen\, Associate Director\, Curatorial Projects\, The Africa Center\, with new texts by Dalia Elhassan. \nExhibition production by Photoville. \nhttps://theafricacenter.org/event-detail-page/details/190/Resistance-in-Memory-Visions-of-Sudan
URL:https://jamesmaherphotography.com/event/resistance-in-memory-visions-of-sudan/
LOCATION:The Africa Center\, 1280 5th Ave\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/sudan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251122
DTEND;VALUE=DATE:20251222
DTSTAMP:20251125T174903Z
CREATED:20251125T174903Z
LAST-MODIFIED:20251125T174903Z
UID:10000098-1763769600-1766361599@jamesmaherphotography.com
SUMMARY:Evan Michael Solís: The Texas Oral History Project
DESCRIPTION:The Texas Oral History Project is an ongoing documentary archive capturing intimate portraits and interviews that reveal the diverse stories\, memories\, and aspirations of Texans in the 21st century. \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/current-exhibits/evan-michael-solis/
URL:https://jamesmaherphotography.com/event/evan-michael-solis-the-texas-oral-history-project/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/BronxDoc.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251121
DTEND;VALUE=DATE:20260125
DTSTAMP:20251125T175859Z
CREATED:20251125T175859Z
LAST-MODIFIED:20251125T175859Z
UID:10000101-1763683200-1769299199@jamesmaherphotography.com
SUMMARY:Tommy Kha: Leftovers
DESCRIPTION:https://higherpictures.com/exhibitions/tommy-kha/
URL:https://jamesmaherphotography.com/event/tommy-kha-leftovers/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Higher-Pictures.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260129
DTSTAMP:20251125T174139Z
CREATED:20251125T174139Z
LAST-MODIFIED:20251125T174139Z
UID:10000095-1763596800-1769644799@jamesmaherphotography.com
SUMMARY:Spark of a Nail
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to announce Spark of a Nail\, an exhibition of new and recent works by photographer Morgan Levy. On view from November 20\, 2025 – January 28\, 2026\, this selection of Levy’s participatory\, lens-based pieces situate women and non-binary individuals at the intersection of photography\, labor\, and the built environment. Throughout her work\, Levy takes an interest in photography’s generative potential\, its capacity to probe and visualize what is often hidden or ignored\, frequently turning her lens towards environments or landscapes in flux or transition. For Spark of a Nail\, Levy collaborated with tradespeople in both apprenticeship programs and professional settings\, providing a forum for conversation and demonstration of expertise. The resulting images enact a form of world-making\, where acts of labor and gestures of rest unfold within physical and material spaces that women and non-binary people build and transform of their own volition. \nCombining documentary\, staged photography\, and performance\, Levy places this body of work in dialogue with two distinct visual histories: early 20th-century images of U.S. labor\, which largely excluded minority groups and often served political goals\, as well as feminist photographic practices of the 1970s and ‘80s\, such as those of the various photographers included in The Woman’s Carpentry Book and photographer and investigative reporter Betty Medsger. Levy also draws inspiration from sculptural works of that era\, such as Lynda Benglis’ radical “pours\,” whichsubvert expectations about industrial materials. \nThrough research\, observation\, sketching\, and discussion with her collaborators\, Levy stages re-performances of acts or work that she has observed. This method of making enables the artist to disrupt the ways in which patriarchal power is traditionally modeled as a hierarchical system in hypermasculine professional realms. Deliberate framing choices leave cis-men at the periphery of the photographs\, as Levy constructs a world almost exclusively populated by women and non-binary individuals engaged in a collective and speculative building project. \nABOUT MORGAN LEVY \nMorgan Levy is a photo-based artist and educator originally from Philadelphia\, PA. She is a recipient of the 2025 V&A Parasol Foundation Prize for Women in Photography and was a Barbara Deming Memorial Foundation and a Puffin Foundation grantee in 2024. In 2023 she was a finalist for the Aperture Portfolio Prize and participated in UnionDocs’ Research & Development lab.\nHer work is currently on view at Large Glass gallery in London in the group exhibition Light Industry\, was recently on view at Copeland Gallery in London as part of the 2025 V&A Parasol Foundation Prize\, and was included in the group exhibition On Land and Place at the Vermont Center for Photography. In 2024\, her work was shown as a part of group exhibitions at the Throughline Collective in Houston\, TX and Gallery Kannski in Reykjavik\, Iceland. Previous group exhibitions include the Print Center\, Philadelphia\, PA (2021)\, Archive/Project Space\, Pittsfield\, MA (2021)\, and Society for Photographic Education\, Philadelphia\, PA (2018).\nHer photographs have been published in contemporary art journals including Artforum\, 1000 Words Magazine\, Valentine Editions\, and Capricious Magazine. Her work has also been published in numerous publications including The New York Times\, The New Yorker\, The Guardian\, Time\, and The New Republic. \nLevy received her MFA in Photography from the Yale School of Art in 2020 and a BFA from Tisch School of the Arts at New York University in 2007. She is currently a part-time faculty member in the Photography Department at Parsons School of Design in New York\, NY. She lives with her partner Håkan\, their cat\, and their child in Brooklyn\, NY. \nhttps://www.baxterst.org/events/spark-of-a-nail/
URL:https://jamesmaherphotography.com/event/spark-of-a-nail/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Baxter2.jpg
END:VEVENT
END:VCALENDAR