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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250101
DTEND;VALUE=DATE:20280102
DTSTAMP:20251203T225112Z
CREATED:20250317T001947Z
LAST-MODIFIED:20251203T225112Z
UID:10000005-1735689600-1830383999@jamesmaherphotography.com
SUMMARY:New York at its Core: 400 Years of NYC History
DESCRIPTION:“Framed around the key themes of money\, density\, diversity\, and creativity\, New York City’s history and future come alive in this first-of-its-kind exhibition\, through the stories of innovation\, energy\, struggle\, and the vision of generations of immigrants\, politicians\, tycoons\, dreamers\, master builders\, and ordinary New Yorkers. \nNew York at Its Core captures the human energy that drove New York to become a city like no other\, featuring the city’s “big personalities” – among them\, Alexander Hamilton\, Walt Whitman\, Emma Goldman\, JP Morgan\, Fiorello La Guardia\, Jane Jacobs\, and Jay Z. The stories of lesser-known New York personalities\, like Lenape chieftain Penhawitz and Lower East Side denizen Susie Rocco\, also figure prominently in the exhibition\, as do some of the furred and shelled residents who shaped the city’s economic and daily life – among them\, the pig\, the beaver\, and the oyster. \nThrough almost 450 historic objects and images\, many from the Museum’s rich collection\, as well as contemporary video\, photography\, and interactive digital experiences\, we welcome you to dive deep into the city’s past and create your own visions for its future.” \nhttps://www.mcny.org/nyatitscore
URL:https://jamesmaherphotography.com/event/new-york-at-its-core-400-years-of-nyc-history/
LOCATION:Museum of the City of New York\, 1220 5th Avenue\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-4.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20261020
DTSTAMP:20260906T152623Z
CREATED:20260906T152623Z
LAST-MODIFIED:20260906T152623Z
UID:10000152-1777507200-1792454399@jamesmaherphotography.com
SUMMARY:Andy Warhol Family Album
DESCRIPTION:Few American artists have shaped modern visual culture as profoundly as Andy Warhol (1928–1987)\, whose experimentation with mass media helped define what it means to be an artist in an image-saturated age. Photography was central to Warhol’s philosophy and his obsession with self-representation. He carried a camera with him wherever he went\, taking hundreds of thousands of photographs during his career. Warhol purchased his first Polaroid in the mid-1960s\, and by the early 1970s\, it would become his tool of choice: both the Big Shot model\, ideal for close-ups with its fixed lens and bright flash\, and the more versatile\, portable SX-70. This technology was instrumental to his process—forming the first stages of his commissioned silkscreen portraits and a mode through which he could document compulsively\, treating his own life as material.  \nAndy Warhol Family Album presents a collection of Polaroids from 1972 to 1973 that captures Warhol’s immediate world of collaborators\, celebrities\, and friends. These photographs come from one of six Holson albums containing hundreds of snapshots Warhol maintained as a personal archive and named for the brand’s generic product type: the “family album.” Together the images—ranging from posed portraits and candid shots of guests visiting his home in Montauk\, Long Island\, to documentation of his travels to Europe and even pictures of his dog Archie—offer a varied glimpse into Warhol’s day-to-day life. \nhttps://whitney.org/exhibitions/andy-warhol-family-album
URL:https://jamesmaherphotography.com/event/andy-warhol-family-album/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort St\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/WMAA68946_WMAA68946_2014_29_536_cropped-CBjwvM.jpe
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260522
DTEND;VALUE=DATE:20261026
DTSTAMP:20251202T061315Z
CREATED:20251202T061315Z
LAST-MODIFIED:20251202T061315Z
UID:10000107-1779408000-1792972799@jamesmaherphotography.com
SUMMARY:Hujar: Contact
DESCRIPTION:Hujar:Contact offers an unprecedented look into the life\, times\, and creative evolution of a master photographer. The exhibition features more than 110 contact sheets and 20 enlargements from the Morgan’s Peter Hujar Collection\, which includes over 5\,700 contact sheets from throughout the artist’s career. \nPeter Hujar (1934–1987) began filing contact sheets and assigning them job numbers at age twenty-one. His records make it possible to track his development—from two decades as a studio assistant (1955–67)\, when he pushed himself to try work of every kind\, into the late 1960s and his work as a freelancer in fashion\, music\, and advertising\, through his mature period (1974–87) as a fiercely independent and influential artist in the East Village. \nMany of the contact sheets bear editing marks that indicate ideas about cropping and printing and contextualize the exposures Hujar ultimately decided to enlarge. The intense\, interactive quality of his portrait work comes to life in contact sheets that read as intimate pictorial narratives\, revealing the nature of his attention and the unique personality of each of his subjects. As Hujar matures and struggles\, and as the character of his social world changes from the 1950s through the 1960s\, 1970s\, and 1980s\, his contact sheets tell the nuanced story of a lifetime\, a community\, and an era. \nhttps://www.themorgan.org/exhibitions/hujar-contact
URL:https://jamesmaherphotography.com/event/hujar-contact/
LOCATION:The Morgan Library and Museum\, 225 Madison Ave\, New York\, NY\, 10016\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/Hujar_Sontag_422054v_0002.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260604
DTEND;VALUE=DATE:20260913
DTSTAMP:20260618T135657Z
CREATED:20260618T135657Z
LAST-MODIFIED:20260618T135657Z
UID:10000133-1780531200-1789257599@jamesmaherphotography.com
SUMMARY:Allen Ginsberg & Vivian Maier: Notes from the Margins
DESCRIPTION:Howard Greenberg Gallery will present Notes from the Margins: Allen Ginsberg and Vivian Maier\, a new exhibition marking the centennial of two singular artists born in 1926\, whose work emerged from the cultural periphery and came to leave a lasting mark on the visual and literary imagination of the 20th century. On view from June 4 through September 12\, 2026\, Notes from the Margins offers a timely reconsideration of two distinct yet unexpectedly resonant artistic legacies. Bringing together Ginsberg’s poetic and photographic sensibility with Maier’s extraordinary street photography\, the exhibition explores how each transformed everyday experience into a powerful record of memory\, observation\, and human presence. \nThe legacies of Allen Ginsberg and Vivian Maier endure. For Ginsberg\, poetry and photography became a vehicle for radical openness – documenting queer identity\, political unrest\, spiritual searching\, and the emotional intensity of postwar America. Maier\, who spent much of her life working as a nanny while privately producing an immense body of photographs\, only discovered by chance after her death\, transformed ordinary city life into an imperishable and deeply human visual archive. Neither artist fit comfortably within institutional frameworks during much of their lives\, yet both produced work that continues to challenge ideas of visibility\, authorship and belonging. \nGinsberg (1926 – 1997) is primarily known as a great American poet\, the figurehead of the Beat Movement (the post-World War ll American literary and social movement centered in New York and San Franciso). But from the early 1950s to about 1964\, he regularly used an inexpensive camera to take snapshots of his now famous friends\, including the writers Jack Kerouac\, William Burroughs\, Gregory Corso\, and Neal Cassady. Almost all are affectionate\, straightforward portraits. Many have a subtly playful spirit\, and some carry Ginsberg’s annotations handwritten on prints. Soon after making these pictures\, Ginsberg lost the camera he’d been using\, and it would be another 20 years before he would return to photography. \nMaier (1926 – 2009) was an American street photographer whose massive\, unseen body of work came to light when it was purchased from an auction in Chicago in 2007. Maier worked in Chicago for most of her life. In her leisure time\, she ventured into the art of photography. Consistently taking photographs over the course of five decades\, she would ultimately leave behind over 100\,000 negatives. While her photographs have compelled viewers around the world since being brought to the public eye\, there is much that remains unknown about the enigmatic woman behind the lens. \nNotes from the Margins features approximately 80 modern and vintage prints\, along with Maier’s experimental film footage and a film of Ginsberg reciting his poem “Howl.” Self-portraits and the urban landscape are a recurring thread through the exhibition. Together\, Ginsberg’s and Maier’s work reveals two singular modes of looking: one public and outspoken\, the other private and elusive. \nEach artist used the camera—and\, in Ginsberg’s case\, language as well—to record fleeting moments\, overlooked people\, and the textures of modern city life. By placing these works in conversation\, the exhibition highlights themes of observation\, self-fashioning\, solitude\, marginality\, and the enduring power of artists who worked beyond conventional expectations of fame\, audience\, and recognition. It considers the margin not simply as a place of absence\, but as a generative space – one where alternative histories\, identities and visual languages take shape. In many ways\, the margin functions as a site of invention. \nNotes from the Margins: Allen Ginsberg and Vivian Maier is part of an extensive series of events happening throughout the year marking the Ginsberg centennial. \nhttps://www.howardgreenberg.com/exhibitions/198-allen-ginsberg-and-vivian-maier-notes-from-the-margins/
URL:https://jamesmaherphotography.com/event/allen-ginsberg-vivian-maier-notes-from-the-margins/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/Howard.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260914
DTSTAMP:20260618T140738Z
CREATED:20260618T140738Z
LAST-MODIFIED:20260618T140738Z
UID:10000136-1781136000-1789343999@jamesmaherphotography.com
SUMMARY:Andrea Hernández Briceño: Fire Becomes Spirit (ICP Incubator Space)
DESCRIPTION:ICP’s Incubator is located on ICP’s ground floor. The space is free and open to the public during café and museum hours.   \nPhotographer and ICP alum Andrea Hernández Briceño has been documenting the indigenous Huöttöja people in the Amazon basin since 2024. Many members of the Huöttöja community feel the pull of the mining industry\, which promises to make them rich but threatens to dilute their culture. Hernández Briceño was invited to document their traditions and ancestral knowledge as a way to preserve them\, but also set herself the goal to avoid being another outsider that left them feeling exploited. She aims to create a body of work that reflects the Huöttöja worldview and spirituality by nurturing a long term relationship with the community and its main goal: to show us that humans are not separate from nature\, but an extension of it.   \nAbout The Artist \nAndrea Hernández Briceño is a Venezuelan journalist\, visual storyteller\, Magnum Foundation fellow\, TEDx speaker and National Geographic explorer based in Caracas. She tells representative stories about gender\, environment and social phenomena that put the dignity of participants in the center of the narrative while using different formats and a perceptive approach to magic. She was awarded the Women Photograph grant in 2024\, three POY Latams (2023 and 2025) and has been shortlisted for the Marilyn Stafford Award twice.  \nHernández Briceño co-founded the all women collectives Ayün Fotógrafas and Solunar. She teaches the Ojo Pelao and MiraVzla free workshops\, making photography education more accessible in her country. She believes in the importance of creating alliances with communities through horizontal practices that combine education\, community building and storytelling initiatives. Her work explores narratives that search for humanity in the space between seemingly opposing ideas as a result of growing up\, documenting and resisting in Venezuela\, a place of deep contradictions.  \nAs part of a team effort she published a book called Mango Season that looks into food insecurity and the resolve to live a dignified life in Venezuela with Raya Editorial and El Archivo. Hernández Briceño collaborates with The Washington Post\, The Guardian\, El País and other international outlets. Her work has been exhibited in New York\, Paris\, Mexico City and Venezuela.  \nAbout the ICP Incubator Space \nICP’s Incubator Space is a new exhibition program designed to highlight the work of emerging photographers who are responding in real time to the world around us. ICP will present a rotating selection of projects by imagemakers experimenting with and pushing boundaries around the documentary tradition. ICP’s Incubator Space is curated by Sara Ickow\, Associate Director of Exhibitions at ICP.  \nHeader image: A light shines upon the tip of the Huöttöja communal home “churuata” in the Amazonas state\, Venezuela\, on April 21\, 2025. In the indigenous Huöttöja people’s worldview\, this branch functions as an antenna connecting the earth with the spiritual realm. The “churuata” is the place where shaman Jattupa tells the stories that conform the Huöttöja way of life\, viewing humans not as separate from nature but as an extension of it. \nhttps://www.icp.org/exhibitions/icp-incubator-space-andrea-hernandez-brice%C3%B1o-fire-becomes-spirit
URL:https://jamesmaherphotography.com/event/andrea-hernandez-briceno-fire-becomes-spirit-icp-incubator-space/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/Briceno-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140228Z
CREATED:20260618T140228Z
LAST-MODIFIED:20260618T140228Z
UID:10000134-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Yves Saint Laurent and Photography
DESCRIPTION:Yves Saint Laurent and Photography explores the powerful relationship Yves Saint Laurent forged between fashion and photography over four decades\, revealing how photography functioned not only as a tool for promotion but also as a creative force that helped define a legacy. Organized in collaboration with the Musée Yves Saint Laurent Paris and the Fondation Pierre Bergé–Yves Saint Laurent\, it brings together nearly 300 iconic photographs and archival objects. \nFeaturing work by celebrated artists such as Richard Avedon\, Cecil Beaton\, Guy Bourdin\, Robert Doisneau\, Horst P. Horst\, William Klein\, Annie Leibovitz\, Steven Meisel\, Duane Michals\, Helmut Newton\, Irving Penn\, David Seidner\, Andy Warhol\, and others\, the exhibition pairs these photographs with contact sheets\, campaign materials\, magazines\, and personal images. Together\, they reveal how Yves Saint Laurent established a blueprint for the way the fashion world is visualized and understood today. \nCurated by Simon Baker\, Guest Curator and photography historian; Nastasia Alberti\, Deputy Head of Collections and Head Archivist; and Clémentine Cuinet\, Head of Photographic Collections\, both of the Musée Yves Saint Laurent Paris. \nAbout Yves Saint Laurent \nYves Mathieu-Saint-Laurent (b. 1936\, Oran\, Algeria) began his career in Paris in 1955 as an assistant to renowned couturier Christian Dior. Following Dior’s sudden death in 1957\, Yves Saint Laurent was appointed artistic director of the Musée Yves Saint Laurent Paris and his designs quickly gained critical acclaim. Dismissed from Dior in 1960 after military service and a subsequent hospitalization for depression\, he founded his own couture house in partnership with Pierre Bergé\, whom he had met in 1958. The first collection was presented in 1962 and the house became known for reinterpreting traditionally masculine garments like pantsuits and trench coats into bold\, feminine looks that redefined the wardrobe of the modern woman.  \nIn 1966\, he launched SAINT LAURENT rive gauche\, a ready-to-wear line with stores opened internationally. Influenced by different cultures\, Yves Saint Laurent’s designs paid tribute to artists including Mondrian\, Picasso and Van Gogh and drew inspiration from faraway places––most notably Marrakech. This prolific output spanned thirty years and was the subject of numerous awards and exhibitions across the globe. Yves Saint Laurent retired and closed the couture house in 2002\, at which point the newly-formed Fondation Pierre Bergé–Yves Saint Laurent assumed responsibility for advancing and safeguarding his work. Yves Saint Laurent died at his Paris home on June 1\, 2008\, at the age of seventy-one. \nIn 2017\, the Fondation Pierre Bergé–Yves Saint Laurent was re-envisioned with the opening of two museums in Paris and Marrakech. These institutions preserve and celebrate one of the twentieth century’s most defining creative legacies. \nAbout Musée Yves Saint Laurent Paris \nThe Musée Yves Saint Laurent Paris\, chaired by Madison Cox\, is the first museum dedicated to one of the greatest couturiers of the twentieth century to open in the capital of fashion. It opened its doors on October 3\, 2017\, fifteen years after the closing of the haute couture house and obtained the designation ‘Musée de France.’ It occupies the historic hôtel particulier at 5 Avenue Marceau where for nearly thirty years\, from 1974 to 2002\, Yves Saint Laurent’s creative genius held sway. The museum’s vast collection includes 12\,000 garments\, including 8\,300 haute couture pieces more than 100\,000 graphic artworks\, including 55\,000 fashion sketches by the couturier and 194\,000 photographs comprising of diapositives\, negatives and vintage and modern prints\, as well as an archive of more than 4\,000 magazines and 60\,000 documents\, including correspondence\, audiovisual materials and personal objects\, completing the collection. This ensemble is the result of the pioneering and systematic archival work initiated by Yves Saint Laurent and Pierre Bergé. The Musée Yves Saint Laurent Paris is temporarily closed for renovations. It is scheduled to reopen in the fall of 2027. \nHeader image: Ensemble worn by Edia Vairelli\, Haute Couture Spring/Summer 1982 collection\, 5 Avenue Marceau\, Paris\, January 1982. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent; Tailored suit worn by Anna Karin\, Haute Couture Autumn/Winter 1991 collection\, 5 Avenue Marceau\, Paris\, July 1991. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent \nhttps://www.icp.org/exhibitions/yves-saint-laurent-and-photography
URL:https://jamesmaherphotography.com/event/yves-saint-laurent-and-photography/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/yves-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140441Z
CREATED:20260618T140441Z
LAST-MODIFIED:20260618T140441Z
UID:10000135-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Photobooks USA 2000–25
DESCRIPTION:Photobooks USA 2000–25 explores how the photobook has emerged as a powerful tool for artists to respond to the forces shaping contemporary life in the United States. Over the past 25 years\, this evolution is reflected in the growing number of publications\, a wider range of publishers\, bold experimentation in design\, and greater inclusivity. \nFeaturing over 50 photobooks—from out-of-print titles to more recent landmark publications—the exhibition presents a cross section of creators\, themes\, forms\, and subjects\, examining how artists have used the photobook to present and circulate their work in powerful and innovative ways.  \nRather than defining a canon or focusing on bestselling or award-winning titles\, the exhibition brings together books that explore different aspects of the United States. Taken as a whole\, they reflect the artistic\, social\, cultural\, political\, environmental and economic conversations shaping the twenty-first century. \nCurated by ICP’s Creative Director David Campany\, Associate Director of Exhibitions Sara Ickow\, and Curatorial Assistant malaika newsome. \nhttps://www.icp.org/exhibitions/photobooks-usa-2000-25
URL:https://jamesmaherphotography.com/event/photobooks-usa-2000-25/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/photobook-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261004
DTSTAMP:20260906T162211Z
CREATED:20260906T162211Z
LAST-MODIFIED:20260906T162211Z
UID:10000160-1783382400-1791071999@jamesmaherphotography.com
SUMMARY:Dakota Mace: Sǫʼ Baa Hane’ 2023-2025
DESCRIPTION:Higher Pictures presents Sǫʼ Baa Hane’\, the gallery’s first exhibition with Diné artist Dakota Mace. The exhibition brings together nine works made between 2023 and 2025 from two series\, Sǫʼ and Distorted Landscapes. \nMace combines traditional and cameraless photographic methods\, including cyanotype\, chemigram\, and natural dyes such as cochineal and Osage orange\, with hand-applied glass beadwork drawn from motifs in Diné weaving and silversmithing. Working across these process-intensive\, labor-dense materials\, she translates Diné cosmology and oral history into a visual language in which design itself functions as a carrier of narrative. In both series\, land operates not as a pictorial subject but as an archive. Land is a repository of ancestral memory and kinship that\, in Mace’s framing\, resists the proprietary logic of Western land ownership and instead figures place as an extension of the self and a site of intergenerational continuity. \nIn Sǫʼ\, Mace honors the tradition of Diné storytelling\, told by campfire beneath the night sky and passed on only at specific times of year\, especially in winter. Created through cyanotype with cochineal and chemical dyes\, each work is unique but tied together\, a reflection of the Diné philosophy that all things are connected even as each carries its own texture and design. Drawing on designs passed down through weaving\, silversmithing\, and the ancestors who came before\, Mace offers a way for a younger generation to understand what it means to remain connected to their stories. \nhttps://higherpictures.com/exhibitions/dakota-mace-s%C7%AB%CA%BC-baa-hane-story-of-the-stars/
URL:https://jamesmaherphotography.com/event/dakota-mace-s%c7%ab%ca%bc-baa-hane-2023-2025/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/dakota-mace-higher-pictures.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260909
DTEND;VALUE=DATE:20261130
DTSTAMP:20260906T163744Z
CREATED:20260906T163744Z
LAST-MODIFIED:20260906T163744Z
UID:10000163-1788912000-1795996799@jamesmaherphotography.com
SUMMARY:New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper
DESCRIPTION:Printed Matter is pleased to present New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper\, the first exhibition focused specifically on the publishing output of pioneering artist Gordon Matta-Clark\, with a particular focus on his project Walls Paper. The show offers an in-depth consideration of the 1973 publication\, situating the work as a key experiment within the artist’s diverse and ambitious practice\, and with the artists’ book medium at large. The exhibition is organized with the participation of the Estate of Gordon Matta-Clark\, with materials drawn from its archives\, and the Gordon Matta-Clark collection at the Canadian Centre for Architecture (CCA) in Montreal. On occasion of the exhibition\, Printed Matter will realize two newly-created commissions from contemporary artists in dialogue with the legacy of Matta-Clark. \nNew Openings Against Old Surfaces is presented as part of Printed Matter’s 50th Anniversary programming\, connecting the artist’s experimentation in book form to the radical milieu that characterized the time of PM’s founding—and with contemporary artists’ practice today. \nPublished by Buffalo Press in 1973\, Walls Paper gathers and abstracts a series of photographs by Matta-Clark depicting the crumbling interior walls of half-demolished tenement buildings across the South Bronx and Lower East Side. The images are reproduced in low-contrast black and white\, and overprinted with hazy neons that likely referenced the patchwork of exposed wallpapering he encountered. The publication—Matta-Clark’s most formally inventive and arguably his one true artists’ book—features newsprint pages that have been bound together and horizontally bisected\, effectively creating two distinct booklets in one. Produced at a time of political upheaval and artistic awakening\, Walls Paper shares the structural and conceptual daring of the early architectural interventions that Matta-Clark performed in response to the dire conditions of economic crisis\, systemic neglect\, and widespread urban decay of New York City in the early 1970s. \nhttps://www.printedmatter.org/programs/events/2276
URL:https://jamesmaherphotography.com/event/new-openings-against-old-surfaces-on-gordon-matta-clarks-walls-paper/
LOCATION:Printed Matter\, 231 11th Ave\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/matta-clark-walls-paper-printed-matter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261018
DTSTAMP:20260906T154234Z
CREATED:20260906T154234Z
LAST-MODIFIED:20260906T154234Z
UID:10000153-1788998400-1792281599@jamesmaherphotography.com
SUMMARY:Tania Franco Klein: RAGE™
DESCRIPTION:Yancey Richardson is pleased to announce RAGE™\, an exhibition of new work by Tania Franco Klein\, the artist’s debut solo exhibition with the gallery. Continuing her examination of the anxieties\, stresses and types of psychological response that present-day history elicits\, Franco Klein has taken rage to be the talismanic emotion of our time\, something widely felt in response to world events just as it is manufactured\, manipulated and even deliberately produced by both media and political elites. In her new photographic series\, Franco Klein considers the multivalent nature of rage—as collective action\, personal choice and cultural fabrication—through images that cite advertising and news reporting\, cinema and photography\, while at the same time remaining suffused with an emotion that\, while referential\, is still tangibly\, even urgently\, felt. The exhibition will be on view from September 10 through October 17\, 2026. An opening reception will be held on Thursday\, September 10 from 6–8PM. \n Franco Klein is known for her visually evocative and conceptually intricate photographic series that explore emotion\, psychology and subjectivity as social constructions rather than personal realities. Through her multidisciplinary immersive installations that combine photographs\, murals and videos\, Franco Klein considers how each individual psychological landscape is formed through experience with the world at large\, and is as much a site of collective experience as it is a solitary one. In her constructed images female subjects are regularly depicted in states of tension and ambiguity. Key details and important objects within each composition are imbued with the visceral charge of light and color inside open-ended narratives that function as cinematic fragments as much as they do self-contained worlds. \n In RAGE™\, emotion and psychology form the structure of each picture as Franco Klein examines the contradictions of rage: its creative potential and capacity for destruction\, its perceived irrationality and absolute necessity\, its tendency to be genuinely felt even when deliberately stoked. Key for Franco Klein is the way that rage is manufactured and weaponized by political and cultural forces alike\, a process she invokes by applying the trademark to the exhibition title. Rather than understand it simplistically\, Franco Klein understands rage dialectically\, as both an appropriate response by ordinary people to the conditions of contemporary life and also as an emotional state that those in news and advertising find desirable for the way it drives engagement and activity. In her photographs and video works\, Franco Klein represents this two-sided phenomenon rather than sidestepping entirely.   \nEach work appropriates a different representational and symbolic language from the history of art and mass media\, from canonical paintings to iconic advertising campaigns. Through their referentiality\, the images reinforce one of Franco Klein’s core beliefs that the emotions we feel deeply\, or the thoughts we mull intently\, are ones we absorb rather than generate ourselves. Alongside her characteristically surreal and evocative photographs are works that confront the challenges posed by Artificial Intelligence to representation and interpretation. In other works Franco Klein examines the role that subtitling plays in recontextualizing—at times even manipulating—the meaning of images that might otherwise carry with them clear and incisive emotions. Whether using photography or video\, Franco Klein shows how rage can be a circular experience that consumes itself just as it remains full of political possibility.  \n Born in 1990 in Mexico\, Tania Franco Klein received her BA in Architecture from Centro Diseño\, Cine y Televisión in Mexico City and her MA in Photography from the University of Arts London. Her work is in the collections of the Museum of Modern Art\, New York\, NY; Getty Center\, Los Angeles\, CA; San Francisco Museum of Modern Art\, CA; Museum of Fine Arts\, Houston\, TX; Nelson-Atkins Museum of Art\, Kansas City\, MO; Museum of Contemporary Art San Diego\, CA; Santa Barbara Museum of Art\, CA; and the Norton Museum of Art\, West Palm Beach\, FL. Her first publication\, Positive Disintegration (2019)\, was nominated for the Paris Photo Aperture Foundation First Book Award. Franco Klein lives and works in Mexico City. \nhttps://www.yanceyrichardson.com/exhibitions/tania-franco-klein2
URL:https://jamesmaherphotography.com/event/tania-franco-klein-rage/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
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DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261018
DTSTAMP:20260906T154329Z
CREATED:20260906T154329Z
LAST-MODIFIED:20260906T154329Z
UID:10000154-1788998400-1792281599@jamesmaherphotography.com
SUMMARY:Manuel Álvarez Bravo
DESCRIPTION:Yancey Richardson is pleased to announce Manuel Álvarez Bravo\, featuring a selection of iconic photographs by the legendary Mexican artist and coinciding with RAGE™\, the gallery’s exhibition of new work by Tania Franco Klein. Considered one of the most important photographers in the history of the medium\, Manuel Álvarez Bravo (1902-2002) is regarded as a towering figure both in Mexico and in the history of Modernism in Latin America more broadly. With photographs that range from nudes\, still lifes and quiet street scenes to portraits and records of political violence\, Álvarez Bravo used photography to explore the subtle mysteries laying just beneath the surface of the perceptible.  \n Initially self-taught\, Álvarez Bravo’s photography developed through his study of foreign and local photography journals\, where he first encountered the work of Edward Weston and Tina Modotti\, both of whom came to Mexico in 1923. Modotti became a close colleague and supporter of Álvarez Bravo\, introducing him to the artists of Mexico’s avant-garde\, including Diego Rivera and Frida Kahlo. Mexico was a cultural hub for many in the international avant-garde in these years\, such as André Breton\, who included Álvarez Bravo in the Paris exhibition Mexique in 1939 and then the Exposition of Surrealism in 1940 in Mexico City. Although Álvarez Bravo downplayed the relationship of his work to Surrealism (his work also appeared in the Surrealist magazine Minotaure)\, the association has endured to this day. \nThe photographs in the exhibition explore the way Álvarez Bravo transformed scenes of quiet and solitude into powerful forms of metaphor and suggestion. In La Buena Fama Durmiendo (Good Reputation Sleeping) and El Sonador (The Dreamer)\, subjects are shown lost in slumber\, while in El ensueño (The Daydream) a young woman is caught up in the transportive act of daydreaming. Each of these figures are etched into their specific material settings while at the same time they are led elsewhere by their imagination and Álvarez Bravo’s framing and treatment of light. In other images\, such as Retrato de lo Eterno (Portrait of the Eternal) and Los agachandos (The Crouched Ones)\, Álvarez Bravo uses light and deep shadow to completely alter otherwise commonplace moments\, showing how the photographic image can introduce a mode of perception that not only expands our understanding of the world\, but also complicates—even unsettles—the presumption of its familiarity. \n Manuel Álvarez Bravo (1902-2002) was one of the founders of modern photography on an international level and is regarded as the leading representative of twentieth-century Latin American photography. During his life\, Álvarez Bravo presented more than 150 solo exhibitions and participated in more than 200 collective exhibitions. \nhttps://www.yanceyrichardson.com/exhibitions/manuel-alvarez-bravo
URL:https://jamesmaherphotography.com/event/manuel-alvarez-bravo-2/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/manuel-alvarez-bravo-yancey.jpg
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DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261025
DTSTAMP:20260906T160718Z
CREATED:20260906T160718Z
LAST-MODIFIED:20260906T160718Z
UID:10000158-1788998400-1792886399@jamesmaherphotography.com
SUMMARY:Deana Lawson
DESCRIPTION:Gagosian is pleased to announce its first solo exhibition of works by Deana Lawson. Opening on September 10 at 541 West 24th Street in New York\, the exhibition of mirror-framed photographs and holograms engages issues of personhood\, surveillance\, and control. \nLawson debuts selections from Edge Control\, a series initiated in 2023 in which she reimagines the monitoring of individuals by beauty supply stores throughout the United States. Recontextualizing surveillance stills taped to windows and entryways\, she preserves the ways in which these images warp identity and posit a mode of figuration\, intervening only to protect the identities of those pictured. \nThe title Edge Control derives from one of the stores’ most frequently stolen products: a gel used to smooth and lay down the baby hairs along women’s and girls’ hairlines\, creating a sleek\, polished look. The phrase refers to both the gel itself and to systems of control in the surveilled frame\, extending to a broader culture of image-based policing. According to Lawson\, “the aesthetic of surveillance imagery—deep-horizon blues and greens—opened my thoughts to an alien view of the supply chain\, and its final landing point in the familiar beauty stores that I often frequent.” The pictures are framed with luminous black mirrors\, underscoring both their reverence and their futurity. The work neither condemns nor valorizes alleged acts of petty theft\, but instead foregrounds the implications of agency and transformative potential of beauty products within our late capitalist society. \nhttps://gagosian.com/exhibitions/2026/deana-lawson/
URL:https://jamesmaherphotography.com/event/deana-lawson/
LOCATION:Gagosian\, 541 West 24th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/deana-lawson-gagosian.jpg
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DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261101
DTSTAMP:20260906T163625Z
CREATED:20260906T163625Z
LAST-MODIFIED:20260906T163625Z
UID:10000162-1788998400-1793491199@jamesmaherphotography.com
SUMMARY:Nature Represented and Reproduced
DESCRIPTION:CLAMP is proud to announce “Nature Represented and Reproduced\,” a group exhibition. \nWork by Aziz + Cucher\, Daniel Handal\, Lori Nix/Kathleen Gerber\, Michael Scandling\, Olaf Otto Becker\, Pia Paulina Guilmoth\, Pipo Nguyen-duy\, Robert Voit\, Stacy Arezou Mehrfar\, and Vija Celmins. \nOpening reception: Thursday\, September 10\, 2026\, 6:00 to 8:00 PM. \nhttps://clampart.com/2026/08/nature-represented-and-reproduced/
URL:https://jamesmaherphotography.com/event/nature-represented-and-reproduced/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/nature-represented-and-reproduced-clamp.jpg
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