BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.17.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
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: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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260129
DTSTAMP:20251125T173946Z
CREATED:20251125T173946Z
LAST-MODIFIED:20251125T173946Z
UID:10000094-1763596800-1769644799@jamesmaherphotography.com
SUMMARY:Phantom Sun: Ohan Breiding
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to present Phantom Sun\, an exhibition of works by Swiss-American artist and filmmaker Ohan Breiding\, curated by Mathilde Walker-Bilaud\, BAXTER ST’s 2025 – 2026 Guest Curatorial recipient. \nOn view from November 20\, 2025 – January 28\, 2026\, the lens-based presentation elevates landscapes as witnesses to ecological\, political\, and cultural issues\, foregrounding what has been erased or cast aside. \nIn Phantom Sun\, Breiding\, an interdisciplinary artist who employs photography\, video\, as well as archives to examine ecological care\, pulls from the “killed negatives” a trove of rejected photographs once belonging to the Farm Security Administration (FSA)\, the government agency established in the mid-1930’s to provide aid to farmers during the Great Depression. These photographic negatives were hole punched\, marking them as unprintable\, often for failing to reinforce the public narrative shaped by the FSA and by Roy Stryker\, Chief of its Historical Section. \nBreiding revives these discarded negatives to give them new agency. By reanimating these fragmented views of the Great Depression\, the artist reframes the New Deal’s vision of American farm life against today’s political climate. A combination of archival images and newly produced works\, the installation overlays past and present histories of ecological precarity and resilience\, exploring ways of caring for the land and its memory in the American context. \nThe project unfolds as a material meditation on a government information campaign\, revealing how both its subject (rural dwellers) and its medium (photography) depend on natural resources and processes of extraction. Shifting the focus from the human to the nonhuman\, from the social to the environmental\, Breiding juxtaposes a selection of day-to-day images of terrains and agrarian activities with recent photograms\, collages on aluminum\, still lifes on silver gelatin and inkjet prints\, and candle drips–the artist’s own experiments with light\, minerals\, and animal-derived products\, three essential elements in the making of photography. The result is a capacious sculptural riff on the landscape tradition: a post-nature\, post-industrial tableau in which the narrative of crisis extends to the land\, and the nostalgia for pastoral America dissolves into the uncanny. \nConceived in dialogue with curator Mathilde Walker-Billaud\, Phantom Sun deploys the motif of the black hole–floating surreally and threateningly over the photographs–to confront the failures of the public archive\, while annotating and expanding the genre of social and environmental documentary photography that the FSA photographers (1) were instrumental in establishing. \n(1) FSA photographers were those hired between 1935 and 1944 by the Farm Security Administration (FSA) and later the Office of War Information (OWI) to document life across the United States. They included Walker Evans\, Dorothea Lange\, Gordon Parks\, Arthur Rothstein\, Ben Shahn\, Margaret Bourke-White\, Russell Lee\, Jack Delano\, Carl Mydans\, Marion Post Wolcott\, John Vachon\, Esther Bubley\, Edwin Rosskam\, John Collier Jr.\, Theodor Jung\, Charlotte Brooks\, Alan Fisher\, and Paul Carter. The creators of the “killed negatives” remain unidentified\, but they came from within this group. \nhttps://www.baxterst.org/events/phantom-sun/ \n 
URL:https://jamesmaherphotography.com/event/phantom-sun-ohan-breiding/
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/Baxter1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250910
DTEND;VALUE=DATE:20251113
DTSTAMP:20250908T030045Z
CREATED:20250908T030045Z
LAST-MODIFIED:20250908T030045Z
UID:10000073-1757462400-1762991999@jamesmaherphotography.com
SUMMARY:Suniko Bazargarid: Where would we find you if we need to find you?
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to present Where would we find you if we\nneed to find you?\, an exhibition of new and recent works by Mongolian photographer and 2025 BAXTER ST Resident\, Suniko Bazargarid. On view from September 10\, 2025 – November 12\, 2025\, the exhibition weaves together personal and archival imagery to explore the psychological\, spatial\, and bureaucratic tensions that shape the experience of migration and memory. \nDrawing on her own transitory upbringing between Boston\, Singapore\, Bangkok\, and Mongolia\, Bazargarid explores the contrast between intimacy and distance\, reflecting her many departures and returns. Analog and digital photography\, interspersed with documents such as passports\, ID photos\, and stamps\, form layered visual essays that expose the logistical challenges of crossing borders. These are set against the emotional and spiritual weight of displacement—the desire to leave\, the pull to return\, and the uncanny experience of encountering one’s homeland as a visitor. Through these layered journeys\, the work also gestures toward the evolving\, and at times\, elusive nature of diasporic identity\, shaped as much by migration\, memory\, and landscape as by inherited tradition.\nThe exhibition’s title comes from a question asked of the artist by a border patrol officer. “Where would we find you if we need to find you?” is both a practical inquiry and a charged reminder of regulation\, visibility\, and control.\nImages of expansive Mongolian landscapes appear throughout the work\, providing visual stillness and moments of reflection. These open vistas are juxtaposed with everyday details— multilingual signage\,and stamped passport pages—that raise questions about what we carry with us\, what we leave behind\, and how space is transformed by presence and absence. \nAbout Suniko Bazargarid\nBorn in Ulaanbaatar\, Suniko is a Mongolian photographer who spent her early years in Boston before living in Singapore\, Bangkok\, and now New York. Her practice is deeply shaped by her nomadic experiences\, exploring the complexities of people and places through themes of migration\, identity\, and the fluidity of memory. Working with both film and digital photography\, she examines the intersections of personal and societal narratives\, from collage work to intimate portraits of places\, often reflecting on those that have shaped her. Her work has been exhibited internationally in cities such as Bangkok\, Paris\, and New York\, and published in outlets like AP\, Forbes\, The Diplomat\, and Musee Magazine. In 2023\, she graduated from the International Center of Photography\, where she was awarded the Arnold Newman Scholarship and the Director’s Fellowship. Most recently she exhibited as part of UB Photo Week 2025 and Art Week 2025 in Ulaanbaatar\, Mongolia. \nhttps://www.baxterst.org/events/where-would-we-find-you-if-we-need-to-find-you/ \n 
URL:https://jamesmaherphotography.com/event/suniko-bazargarid-where-would-we-find-you-if-we-need-to-find-you/
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/2025/09/thisland-pink.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250604
DTEND;VALUE=DATE:20250817
DTSTAMP:20250510T010411Z
CREATED:20250510T010411Z
LAST-MODIFIED:20250510T010411Z
UID:10000046-1748995200-1755388799@jamesmaherphotography.com
SUMMARY:Qiana Mestrich: The Reinforcements
DESCRIPTION:BAXTER ST at CCNY is pleased to announce the inaugural exhibition at its new location at 154 Ludlow Street with The Reinforcements\, a solo presentation by 2024 BAXTER ST Resident Artist and writer Qiana Mestrich\, opening June 4\, 2025.\nA powerful series of photo collages begun in 2023\, The Reinforcements visualizes the labor history of Black and immigrant women of color in the American corporate workplace. Drawing from archival images—including photographs of Mestrich’s own mother\, who worked in sales at Rugol Trading Corporation in New York City in the late 1960s—the work explores the everyday realities and systemic inequities that have long defined professional life for women of color.\nThis body of work stems from Mestrich’s broader\, ongoing research project @WorkingWOC: Towards a History of Women of Color in the Workplace\, an independent digital archive aimed at documenting and interpreting the role of women of color in the American labor force from the Civil Rights Act of 1964 to the early 2000s.\nDespite the founding of the Equal Employment Opportunity Commission in 1965\, Black and other women of color continue to face racial and gender discrimination\, limited pathways to leadership\, and persistent wage inequality. In response to the absence of robust archival material addressing these inequities\, Mestrich has created speculative visual narratives by collaging images from vintage fashion and office supply magazines. The resulting works are imagined interventions into a historical record that too often neglects the labor\, agency\, and ambitions of these women.\nThe Reinforcements not only centers the experiences of its subjects but also asks viewers to reckon with the ongoing erasure of women of color in corporate and institutional histories. With this inaugural exhibition\, Baxter St renews its commitment to presenting urgent\, socially engaged work by emerging and mid-career lens-based artists. \nABOUT QIANA MESTRICH\nQiana Mestrich (b. 1977\, NYC) is an interdisciplinary artist and photo historian whose work critically engages with themes of Black and mixed-race identity\, motherhood\, women’s labor\, and the empowering role of fashion. Informed by her upbringing as the daughter of immigrants from Panama and Croatia\, Mestrich’s artistic practice is complemented by significant contributions to the field of photography history. Her artwork has garnered international attention\, with exhibitions at the RAY Fotografieprojekte Frankfurt/RheinMain and London Art Fair’s Photo50\, and inclusion in collections such as the Peggy Cooper Cafritz collection. A graduate of the ICP-Bard College MFA program\, her insightful perspectives have been recognized through awards like the 2025 Saltzman Prize and CPW Vision Award\, as well as the 2022 Magnum Foundation’s Counter Histories grant for her research on women of color in the corporate workplace. Mestrich’s dedication to expanding the discourse around photography is evident in her 2007 founding of Dodge & Burn: Decolonizing Photography History. This groundbreaking initiative\, which evolved from a blog into a vital critique group\, actively championed photographers of color. Her newly released book (Routledge\, March 2025)\, features 35 updated interviews from the blog along with 7 critical essays on photography. Mestrich lives and works between Brooklyn and New York’s Hudson Valley. \nABOUT BAXTER ST\nFounded in 1884\, Baxter St at the Camera Club of New York is one of New York City’s oldest artist-run nonprofit spaces committed to lens-based arts. Today\, the organization is a socially engaged art incubator that prepares lens-based artists for their debut and helps them create sustainable practices to move forward with integrity. In addition to a year-round exhibition schedule\, the organization hosts artist residencies\, critique groups\, and a public series of artist talks and workshops. Baxter St promotes artists of all ages\, races\, ethnicities\, and identities whose work connects with global conversations on culture\, human rights\, environment\, and equality. The organization is committed to uplifting artists by sharing ideas and resources and learning together to create profound and lasting change in our organization and communities. \n\n \n\n\n\n\n\n\n\nhttps://www.baxterst.org/events/the-reinforcements/
URL:https://jamesmaherphotography.com/event/qiana-mestrich-the-reinforcements/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/baxter2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250604
DTEND;VALUE=DATE:20250814
DTSTAMP:20250510T010212Z
CREATED:20250510T010107Z
LAST-MODIFIED:20250510T010212Z
UID:10000045-1748995200-1755129599@jamesmaherphotography.com
SUMMARY:Thomas Holton: The Lams of Ludlow Street
DESCRIPTION:Baxter St at the Camera Club of New York is pleased to present the inaugural exhibition at its new location at 154 Ludlow Street\, The Lams of Ludlow Street\, a solo exhibition by photographer Thomas Holton\, presented as part of the organization’s Mid-Career Initiative. Spanning over two decades\, this deeply personal body of work chronicles the evolving lives of a single Chinese-American family in Manhattan’s Chinatown\, offering an intimate exploration of identity\, belonging\, and the everyday moments that shape our understanding of home.  \nSince 2003\, Holton has immersed himself in the life of the Lam family\, capturing both the private and public dimensions of their world with an unfiltered\, empathetic lens. What began as an artistic inquiry into his own Chinese heritage has evolved into a lifelong commitment to storytelling—one that reflects the complexities of family\, migration\, and cultural hybridity in contemporary America. \nA lifelong New Yorker of mixed Chinese and American descent\, Holton has long grappled with a sense of detachment from his Chinese roots. His photographic journey with the Lams became both a creative and personal act of connection\, a way to bridge the gaps in his own identity through the lens of another family’s experiences. The resulting images document adolescence\, marriage\, resilience\, and the quiet\, unscripted moments that define family life. \nPresented at a time when Chinatown\, like many immigrant communities\, faces profound social and economic shifts\, The Lams of Ludlow Street serves as both a visual archive and a meditation on what it means to belong. Holton’s images remind us of the power of long-term storytelling—of what it means to bear witness to time\, change\, and human connection. \nAbout Thomas Holton \nThomas Holton is a photographer and educator based in New York City. He received a BA from Kenyon College and a MFA in photography from the School of Visual Arts. His ongoing project\, The Lams of Ludlow Street\, has documented the life of a single Chinese-American family living in Manhattan’s Chinatown over 20 years. The project was published as a book in 2016 by Kehrer Verlag and has been shown in the United States and abroad at venues including The Smithsonian National Portrait Gallery\, The Museum of the City of New York\, the New York Public Library\, and the Photoville photography festival . The work has also been featured by the New York Times\, Aperture\, The Guardian and many other periodicals. He has taught at the International Center of Photography and was co-founder of SVA’s VisuaLife photography program\, working with at-risk teenagers in collaboration with the Children’s Aid Society in New York City. He is currently a photography educator in New York City where he lives with his family. \nAbout BAXTER ST’s Mid-Career Initiative \nBaxter St’s Mid-Career Initiative is dedicated to supporting lens-based artists who occupy the space between emerging and established careers. This initiative advances Baxter St’s mission to foster belonging in the cultural sector by providing mid-career artists with vital opportunities for solo exhibitions\, public engagement\, and professional growth. \nAbout BAXTER ST at CCNY \nFounded in 1884\, BAXTER ST at the Camera Club of New York is one of New York City’s oldest artist-run nonprofit spaces committed to lens-based arts. Today\, the organization is a socially engaged art incubator that prepares lens-based artists for their debut and helps them create sustainable practices to move forward with integrity. In addition to a year-round exhibition schedule\, the organization hosts artist residencies\, critique groups\, and a public series of artist talks and workshops. Baxter St promotes artists of all ages\, races\, ethnicities\, and identities whose work connects with global conversations on culture\, human rights\, environment\, and equality. The organization is committed to uplifting artists by sharing ideas and resources and learning together to create profound and lasting change in our organization and communities. \nhttps://www.baxterst.org/events/the-lams-of-ludlow-street/
URL:https://jamesmaherphotography.com/event/thomas-holton-the-lams-of-ludlow-street/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/baxter1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250305
DTEND;VALUE=DATE:20250417
DTSTAMP:20250317T033655Z
CREATED:20250317T033655Z
LAST-MODIFIED:20250317T033655Z
UID:10000018-1741132800-1744847999@jamesmaherphotography.com
SUMMARY:Sueños Senos Exhumadas del Cenote Yemaya: Coralina Rodriguez Meyer
DESCRIPTION:“Baxter St\, in partnership with YoungArts\, presents Sueños Senos Exhumadas del Cenote Yemaya\, a solo exhibition by interdisciplinary artist Coralina Rodriguez Meyer. Engaging sculpture\, documentary photography\, and video installation\, the exhibition space is transformed into an immersive psychic interior womb\, tracing the survival of diasporic and integrated\, Indigenous knowledge systems that have endured or adapted over millennia. \nConceived as a sanctuary structured in three distinct trimesters\, the exhibition unfolds as a journey through bodily and cultural memory. At its center\, Cenote Yemaya serves as the exhibition’s navel—a large-scale video installation mapping sacred water bodies from the Caribbean to New York\, projected onto a Mother Mold fertility effigy. Cast from pregnant bodies and composed of materials including discarded medical latex gloves\, hair\, nails\, birth control packaging\, botanica elements\, serape fabrics\, and funeral flowers\, the work embodies both loss and survival. Drawing from preservation rituals such as Andean mummification\, Caribbean\, and Creole birthing traditions\, the effigy serves as a vessel for memory\, resistance\, and reclamation. A parallel series\, Rodriguez Meyer’s Línea Negra photography (2007–present) documents the artist’s infertility diagnosis in 2007 and her subsequent biological pregnancy after overcoming monumental institutional violence. The first trimester of the exhibition is a sterile\, hospital counter. An institutional space often hostile to melanated\, queer\, and immigrant bodies—the first decade of photographs documents the Mama Spa Botanica workshop (2007–present)\, conceived in collaboration with the artist’s full spectrum neighbors. Linea Negra is the hemispheric melanin line that appears on the abdomen during pregnancy. This natural mark\, most prominent in people of color\, is an index—an ancestral imprint inscribed between parent and child- connecting reproductive histories across geographies\, genders\, and generations. \nRooted in traditions that predate colonial borders\, Rodriguez Meyer’s work reveals interdependent social structures—matriarchal\, endangered\, and vulnerable—yet persistent across generations. Visitors move deeper into the installation\, to a spatial third trimester\, where the environment transforms into a multisensory sanctuary of color\, texture\, and movement. Suspended serapes and a throne offer a moment of rest and reconstitution—activating the relationship between the body\, memory\, and material culture as tools for resistance. \nThe Apariciones: Virgen Gruta series (2020–present) situates fertility effigies within their endemic landscapes\, reclaiming American material refuse as sites of matriarchal refuge. These vibrant\, altar-like forms recall botanicas\, domestic shrines\, and sacred grottos\, where marginalized communities have long cultivated protection and healing outside of sanctioned medical spaces or climate crises. The Foliage Obscura retablo installation honors syncretic healing traditions. Both immersive environments recall the Saltwater Underground Railroad—often understood as a terrestrial route—that was in reality a vast network of maritime and Indigenous sanctuary systems\, where self-emancipated people navigated landscapes and social structures in search of refuge. This exhibition acknowledges that legacy\, presenting preservation as an ongoing\, active negotiation between our bodies and the landscape — beyond visibility and concealment\, adaptation and resistance\, grief and regeneration. \nA mirrored photographic installation from the Double Consciousness Infinity Mirror series (2013–present) is viewable 24/7 in the Baxter St storefront\, functioning as a visual call and response—echoing diasporic traditions of self-recognition and resistance while also confronting the gaze of institutional surveillance. \nSpanning two decades of artistic and community practice in the Mama Spa Botanica workshop\, Sueños Senos Exhumadas del Cenote Yemaya is not simply about Latine\, Caribbean\, immigrant\, queer\, or melanated people\, but rather the practices that have long sustained those outside dominant systems\, demonstrating a cultural\, biological\, and ecological resilience that exists in bodies\, habitats\, and memory. \nABOUT CORALINA RODGRIGUEZ MEYER\nHomestead Everglades swamp born Coralina Rodriguez Meyer is a Miami & Brooklyn based indigenous Andean American (Colombian/Peruvian) Quipucamayoc artist\, architect\, archive digger\, advocate and mother whose work spans 2 decades and 30 countries. Raised Ital & Tinkuy between Miami and the Caribbean\, Coralina’s collaborative practice builds civic agency in their unvanquished barrios to resist assimilation and structural violence in American mythology.” \nhttps://www.baxterst.org/events/suenos-senos-exhumadas-del-cenote-yemaya/
URL:https://jamesmaherphotography.com/event/suenos-senos-exhumadas-del-cenote-yemaya-coralina-rodriguez-meyer/
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/2025/03/image-16.jpeg
END:VEVENT
END:VCALENDAR