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DTSTART;VALUE=DATE:20260306
DTEND;VALUE=DATE:20260508
DTSTAMP:20260310T012219Z
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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: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:20251107
DTEND;VALUE=DATE:20251221
DTSTAMP:20251125T174648Z
CREATED:20251125T174648Z
LAST-MODIFIED:20251125T174648Z
UID:10000097-1762473600-1766275199@jamesmaherphotography.com
SUMMARY:Robert Calafiore | As My Eyes Open and You Disappear
DESCRIPTION:CLAMP is pleased to present “As My Eyes Open and You Disappear\,” Robert Calafiore’s second solo show with the gallery. This exhibition brings together Calafiore’s newest nude studies\, conceived as staged\, theatrical tableaux. Drawing on art historical precedents\, from Greek and Roman statuary to odalisques\, as well as the expressive positioning of George Platt Lynes and the story tale sequencing of Duane Michals\, each composition unfolds like a scene from a play\, where gesture\, posture\, and illumination orchestrate both narrative and affect. The bodies appear simultaneously present and ephemeral\, illuminated with the translucency of stained glass. \nRobert Calafiore shoots analogue\, entirely without digital technologies\, constructing custom pinhole cameras which expose light directly onto chromogenic sheets of paper. Producing singular color prints through extremely prolonged exposures ranging from several minutes to hours\, this method requires models to hold poses with disciplined stillness while the camera records their presence. Any movement creates blur and distortion\, collapsing time into layered\, ghost-like traces. Each figure emerges as a luminous\, sculptural presence—its monumentality achieved through scale and tonal depth\, its vulnerability through the body’s translucent rendering and exposed gestures. \nThe artist’s practice\, rooted in meticulous engagement with and mastery of optical technology\, recalls early 19th-century experimental photography while opening a dialogue with classical representations of the human form. \nAs early photography pioneer William Henry Fox Talbot described his own camera obscura images\, these are pictures “drawn by the hand of nature” rather than the artist’s hand—a world made visible through the camera’s unique vision. \nCalafiore’s choice to work with the most primitive photographic technology is a deliberate response to our digital age. Observing his students at Hartford Art School increasingly challenged by the construction of functional pinhole cameras and the sensitive handling of physical materials\, he recognized how digital shortcuts had eroded fundamental skills. In response\, he turned away from digital technology entirely and built his own cameras: “I chose to use the pinhole camera and make work that turned in the opposite direction of new digital technologies. I wanted to make work that was relevant\, felt contemporary\, looked high tech\, but yet was made with the simplest camera to capture an image. I wanted the work to be physical\, labor intensive\, require strong skills in technique and craft.” \nCalafiore presents his images as photographic negatives\, with darkness rendered as light and colors appearing as their approximate opposites. This reversal is not a technical limitation but an artistic choice that reveals a world that cannot be seen otherwise. The negative image demands that viewers engage more directly\, studying each photograph closely to reconstruct mentally what they are perceiving. One must slow down and examine the interplay of light\, form\, and time duration with sustained attention in resistance to the instant nature of contemporary image culture. \nA first-generation Italian-American\, raised within a large\, traditional Roman Catholic family\, Calafiore’s earliest interactions with ritual\, devotion\, and labor inform both the discipline and reverence inherent in his practice. Not only the curious inverted palette characteristic to pinhole prints\, but the artist’s dramatic mis en scène reference religious iconography from stained glass windows to painted biblical depictions. \nCalafiore’s practice functions as a meditation on perception and the materiality of seeing. By privileging labor-intensive\, analog processes\, he foregrounds the tactile and enduring dimensions of the human body\, transforming the nude figure into a site of both aesthetic contemplation and an inquiry of perception. The exhibition stages a dialogue between intimacy and spectacle\, classical reference and contemporary sensibility\, permanence and disappearance. \nBorn in New Britain\, Connecticut\, Calafiore earned a BFA from Hartford Art School and an MFA from the State University of New York at Buffalo. He has exhibited nationally and internationally and continues to shape contemporary photographic discourse as an educator and administrator at Hartford Art School. \nhttps://clampart.com/2025/10/as-my-eyes-open-and-you-disappear
URL:https://jamesmaherphotography.com/event/robert-calafiore-as-my-eyes-open-and-you-disappear/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Clamp2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251107
DTEND;VALUE=DATE:20251221
DTSTAMP:20251125T174512Z
CREATED:20251125T174427Z
LAST-MODIFIED:20251125T174512Z
UID:10000096-1762473600-1766275199@jamesmaherphotography.com
SUMMARY:Frank Diernhammer: Hollywood Nudes\, 1950s-1970s
DESCRIPTION:CLAMP is pleased to announce “Frank Diernhammer | Hollywood Nudes\, 1950s – 1970s\,” curated by Travis Hutchison. \nThe exhibition is the first public display of the artist’s extensive archive. Hidden away for nearly fifty years\, the collection of vintage photographs\, negatives\, slides\, and 8-mm films was only discovered upon the artist’s death in 2019 at 90 years of age. Consisting primarily of the artist’s private passion\, intimate male nudes\, the holdings also notably include a very rare original print of a 30-minute 8-mm film of men frolicking at one of the famous pool parties at the Hollywood home of director George Cukor in 1958. CLAMP’s show features original vintage gelatin silver prints\, modern gelatin silver enlargements\, contact sheets\, a video presentation of the Cukor film\, along with a printed film still. \nBorn in New York City in 1928 to German parents\, Frank Diernhammer was an American citizen. His father was a violinist who auditioned for Arturo Toscanini at the New York Philharmonic. When he was not selected\, he moved the family back to Munich the following year. \nThe family survived World War II unscathed\, and Frank Diernhammer then enlisted in the US Army working as an interpreter in Germany. In 1948\, he left Germany to study photography at the University of California\, Los Angeles. He later pursued an acting career and appeared in the 1953 film Gentlemen Prefer Blondes with Marilyn Monroe. Diernhammer is one of the handsome male dancers in the famous sequence from the song “Diamonds Are a Girl’s Best Friend.” Throughout the mid-1950s\, he appeared on the cast lists of various films in Germany\, where he changed his name to Frank Holms. But by 1958\, he was back in Hollywood when he filmed the handsome men at one of the infamous pool parties at the home of director George Cukor. \nThroughout the 1960s and 1970s\, Diernhammer worked on assignment for Women’s Wear Daily shooting Hollywood events and celebrity portraits for profiles and interviews. Some of the subjects included Steve McQueen\, Paul Newman\, Truman Capote\, George Cukor\, Barbra Streisand\, Rita Hayworth\, Marlon Brando\, Raquel Welch\, Clint Eastwood\, Robert Mitchum\, Allen Ginsberg\, David Hockney\, Christopher Isherwood\, Joan Crawford\, Jane Russell\, Faye Dunaway\, Henry Fonda\, Natalie Wood\, Ronald Reagan\, James Baldwin\, Shirley MacLaine\, Fred Astaire\, Katharine Hepburn\, and many more. \nAll the while\, Diernhammer continued shooting photographs of the handsome men he met along the way\, including surfers\, models\, hustlers\, and porn stars. Photographing in his home\, the images were meant entirely for his own enjoyment. Though a handful did appear in print\, they are either unattribruted or misattributed to famous photographers of the day\, including Bob Mizer. Nonetheless\, the archive represents the achievement of a previously unknown\, notably prolific\, and particularly gifted beefcake photographer working from the pre-Stonewall era up to gay liberation during the sexual revolution of the 1970s. \nhttps://clampart.com/2025/09/hollywood-nudes-1950s-1970s
URL:https://jamesmaherphotography.com/event/frank-diernhammer-hollywood-nudes-1950s-1970s/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Clamp1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250710
DTEND;VALUE=DATE:20250830
DTSTAMP:20250717T003305Z
CREATED:20250717T003305Z
LAST-MODIFIED:20250717T003305Z
UID:10000054-1752105600-1756511999@jamesmaherphotography.com
SUMMARY:Jonah Samson: You Do Not Know How Longingly I Look Upon You
DESCRIPTION:CLAMP is pleased to present “Jonah Samson | You Do Not Know How Longingly I Look Upon You\,” an exhibition of recent works by the Canadian artist—his first solo exhibition at CLAMP.\n \n“You Do Not Know How Longingly I Look Upon You” comes from a line from Walt Whitman’s poem “To A Stranger\,” first published in the 1860 edition of Leaves of Grass. The poem explores the fleeting connection of the writer and a passing stranger and functions as a meditation on loneliness\, longing\, and unfulfilled desire.\n \nWorking exclusively with his extensive collection of vintage gay porn and erotica\, Samson’s practice is in many ways a similarly intensive rumination on looking at strangers longingly. The trove of print media the artist mined to create the works in this exhibition behave for Samson just as they did for their intended viewers when they were originally made.\n \nThese subjects and scenes still behave as sites of hunger and desirous looking\, but in transforming images once meant for mass\, immediate consumption into delicate\, handmade prints\, Samson slows the act of looking. The rapid release of pornographic imagery—the quickness of access\, arousal\, and abandonment is replaced by something more aching and prolonged. This shift to the aching rather than explicit is furthered by Samson’s decision to crop many of the source images to focus on the faces and expressions of the models.\n \nBy using labor-intensive photographic processes to create unique\, monochromatic prints\, Samson deliberately obscures the original state of the scene and instead reimagines these images not as consumable jack off material\, but as meditations on memory\, on intimacy\, and on the persistence of longing. Samson’s images do not attempt to fulfill desire; they choose to linger within it. \nJonah Samson is a self-taught artist who has exhibited nationally and internationally. He presented a  solo exhibition with Macaulay & Co. Fine Art in 2015\, and his exhibition “Another Happy Day” (2013) at Presentation House was listed as one of the top 10 shows that season by Canadian Art magazine. Other exhibitions include “Otherworldly” at the Musée Eugène Leroy\, France\, and the Museum of Arts and Design\, New York\, and “Unearthed” at Sainsbury Centre for Visual Arts in the UK.\n \nSamson creates work that merges photographic\, filmic\, and painterly processes. Absurdist theatre and literature are often referenced in his evocation of the bizarre and offbeat. He currently lives in Cape Breton Island\, Nova Scotia. \nhttps://clampart.com/2025/06/you-do-not-know-how-longingly-i-look-upon-you/#thumbnails
URL:https://jamesmaherphotography.com/event/jonah-samson-you-do-not-know-how-longingly-i-look-upon-you/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/back-vd-14x15-1-scaled-e1751913448192-980x889-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250710
DTEND;VALUE=DATE:20250830
DTSTAMP:20250717T002752Z
CREATED:20250717T002752Z
LAST-MODIFIED:20250717T002752Z
UID:10000053-1752105600-1756511999@jamesmaherphotography.com
SUMMARY:James Bidgood: Dreamlands
DESCRIPTION:CLAMP presents “James Bidgood | Dreamlands\,” an exhibition of photographs marking the launch of the monograph of the same title from Salzgeber\, in addition to recent screenings of the artist’s cult classic film\, “Pink Narcissus\,” at theaters across the United States and Europe. \nThe book combines iconic motifs from the artist’s oeuvre with many previously unpublished images. The exhibition at CLAMP includes twelve of these new photographs selected from the estate archives\, along with a large-scale print of “Pan”—the monograph’s cover image. \n“Pink Narcissus\,” James Bidgood’s film from 1971\, described as a “kaleidoscopic fever dream of queer desire\,” was recently restored by the UCLA Film & Television Archive\, and has been playing at theaters since late 2024\, including MoMA (New York)\, Hammer Museum (Los Angeles)\, BAM (New York)\, Metrograph (New York)\, and other screens in London\, Bologna\, San Francisco\, Seattle\, Provincetown\, Tucson\, St. Louis\, etc. \nJames Bidgood passed away in 2022 at the age of 88. A New Yorker for over 70 years\, he was adored and admired by generations of artists and cinephiles alike. \nWhen Bidgood first came to New York from Wisconsin in the 1950s\, he worked as a drag performer and occasional set and costume designer at Club 82 in the East Village. After studying at Parsons School of Design from 1957 to 1960\, Bidgood found jobs as a window dresser and costume designer. \nHe then went on to work as a photographer for men’s physique publications and began creating his own personal photographs and films that greatly benefited from his talents in theater design and costume construction. It was during this period in the early 1960s that Bidgood began working on his masterpiece—the 8mm opus “Pink Narcissus.” \nIn his tiny apartment in Hell’s Kitchen\, he handcrafted sets using humble materials to create a theatrical dreamland in which artifice became transcendent. With hand-tailored clothing\, saturated lighting\, and lots of glitter\, Bidgood built a cosmos of queer belonging\, populated with angelic figures of male beauty—including Cupid\, Pan\, and other mythological gods\, along with harlequins\, soldiers\, firemen\, hustlers\, drag queens\, altar boys\, and more. \nBidgood’s confined domestic production speaks to both necessity and liberation—”a queer creative spirit refusing to be constrained by material limitations.” In fact\, the artist and his models would eat\, sleep\, and frolic within the sets until it was time to tear them down and begin building the next scene. \nWithin this space\, and in front of his lens\, the homosexuals that were ostracized by larger society could be beautiful\, glamorous\, complex\, silly\, or simply themselves. \nhttps://clampart.com/2025/07/dreamlands/#thumbnails
URL:https://jamesmaherphotography.com/event/james-bidgood-dreamlands/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/Backstage-Richie-Sleeping-Portrait-149X-3-980x980-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250307
DTEND;VALUE=DATE:20250504
DTSTAMP:20250317T032518Z
CREATED:20250317T032518Z
LAST-MODIFIED:20250317T032518Z
UID:10000016-1741305600-1746316799@jamesmaherphotography.com
SUMMARY:Zack Seckler: West
DESCRIPTION:“CLAMP is pleased to present “West\,” an exhibition of recent photographs and videos by Zack Seckler\, continuing his signature aerial perspective\, transforming vast landscapes into painterly compositions where land\, water\, and sky dissolve into near-abstractions. \nSeckler’s ability to distill the essence of immense terrains into fluid\, almost dreamlike visuals\, challenges traditional representations of the American landscape. His lens captures the interplay of organic forms and natural forces\, revealing a world where the familiar dissolves into the unexpected\, and scale becomes elusive. \nLike Alfred Bierstadt\, Thomas Moran\, Carleton Watkins\, and other painters and photographers of the later part of the 19th century who ventured west to depict and explore America’s vast and uncharted landscapes\, Seckler documents the Rocky Mountains\, the arid Southwest\, and more lush scenes in California. But unlike his predecessors\, Seckler is equipped with imaging technologies and means of travel allowing him to record the same landscapes from vantage points and in details incomprehensible in centuries past. \nThe artist’s approach bridges past and present\, acknowledging the historical impulse to chronicle and celebrate the wilderness while employing a contemporary\, almost abstract sensibility that shifts the focus from romantic documentation to commentary and interpretation. Seckler’s images and videos reveal rhythmic patterns and unexpected color harmonies across various sprawling western terrains now touched by man’s footprint. \nThe artworks embrace a surrealism of scale—where minute details\, like the bend of a river or a lone animal’s tracks\, become the focal points of vast\, minimalist canvases. The textures of the land\, shaped by erosion\, water flow\, and human intervention\, take on a lyrical quality\, transforming rugged topographies into soft\, painterly gestures. Challenging the viewer’s sense of perspective\, Seckler encourages an experience of the landscape as both intimate and infinite\, structured yet ephemeral. \nThe aerial vantage offers a view transcending the limitations of the human eye\, inviting a reconsideration of the land’s scale and vulnerability. His compositions\, at once serene and dynamic\, speak to the power of nature and the imprint of time\, making visible the otherwise imperceptible rhythms that define these remote and majestic expanses. \nZack Seckler was born in Boston and studied psychology at Syracuse University. Then\, traveling solo with a point-and-shoot camera in northern India\, his mind opened to the visual world. Upon returning to Syracuse\, he took coursework in photography at the renowned Newhouse School. With an internship in a Hong Kong photo studio and editorial work in New York City\, he developed his vision for image-making. “West” is the artist’s third solo show at CLAMP.” \nhttps://clampart.com/2025/02/west-2/#thumbnails
URL:https://jamesmaherphotography.com/event/zack-seckler-west/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-14.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250307
DTEND;VALUE=DATE:20250504
DTSTAMP:20250317T032158Z
CREATED:20250317T032158Z
LAST-MODIFIED:20250317T032158Z
UID:10000015-1741305600-1746316799@jamesmaherphotography.com
SUMMARY:Pia Paulina Guilmoth: Flowers Drink the River
DESCRIPTION:“CLAMP is honored to present Flowers Drink the River\, a solo exhibition by Pia Paulina Guilmoth—her first with the gallery. In this deeply personal body of work\, Guilmoth documents the first two years of her gender transition while living in a rural\, predominantly right-wing town in Maine. Her large-format photographs reflect both beauty and terror in a world where queer existence can be at turns both euphoric and deeply perilous. Haunting nocturnes replete with moths\, snakes\, and owls\, are animated by raw\, animistic rituals\, representing Guilmoth’s search for beauty\, sanctuary\, and resistance amid the wild landscapes and intimate relationships that define her life. \nSpanning themes of transformation\, belonging\, and defiance\, Flowers Drink the River is an ode to trans women\, queer kinship\, and working-class survival in the backwoods of central Maine. Guilmoth’s photographs reject easy categorization—mud-drenched bodies intertwine in the dark of night\, spider silk drifts across glowing landscapes\, and nocturnal creatures move through the frame like quiet witnesses. A burning house rages in the distance with a calm white horse seemingly unawares. Friends piss from tree branches like a warm summer rain. These photographs inhabit the space between land and body\, pleasure and threat\, inviting viewers into a world where boundaries are blurred\, and survival is a necessary act of creation. \nGuilmoth’s photographic practice is rooted in collaboration—both with her human subjects and the natural world. She constructs delicate sculptures from spiderwebs\, flowers\, and other found materials\, then waits as the environment intervenes\, letting wind\, water\, and light reshape her compositions. This meditative approach extends to her relationship with the animals she photographs\, earning their trust over weeks and months before capturing their presence on film. \n“Each night for a week in August\, I would sit in the tall\, tick-infested grass behind the orchard\, covered in Scent Killer Gold\, wearing a ghillie suit\, holding a tray full of crushed apples in one hand and a 30-foot makeshift shutter release cable attached to my 4 × 5 camera in the other\,” Guilmoth recalls. “The same family of deer would get more comfortable with my presence each night. Eventually\, they were eating the ripe fruit from my hands. The following Tuesday\, I would have my first HRT consultation. I was keeping it a secret\, knowing there was no way I could safely transition in this place\, but also no way I could hide my changing body over the following months and years.” \nGuilmoth’s use of large-format photography is both a technical and emotional choice\, emphasizing patience\, precision\, and physical engagement with the medium. “I have always embraced slowness in my life\,” Guilmoth states. “Both in the place I live and the way I aspire to be. Art and being with people I love are the things that allow me to really exist in a moment.” The intricate process of setting up each shot\, from building trust with wild creatures to manipulating natural elements\, reflects the broader themes of her work: resilience\, adaptation\, and the search for beauty in unlikely places. \nAt its core\, Flowers Drink the River challenges the conventions of documentary photography. Rather than approaching her subjects as an outsider\, Guilmoth photographs her own community—trans and queer people navigating life in a region that often denies their existence. The result is a body of work that resists voyeurism\, instead offering an intimate\, deeply felt portrait of chosen family\, survival\, and joy. “Resistance for me is saying: ‘You can try and take everything from me—healthcare\, safety\, affordable housing—but you can’t take away my joy and the ability to find beauty in my life\,’” she explains. \nThe exhibition is accompanied by a monograph of the same title published by Stanley Barker.” \nhttps://clampart.com/2025/01/flowers-drink-the-river/#25
URL:https://jamesmaherphotography.com/event/pia-paulina-guilmoth-flowers-drink-the-river/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-13.jpeg
END:VEVENT
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