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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:20251205
DTEND;VALUE=DATE:20260201
DTSTAMP:20251203T225327Z
CREATED:20251202T063540Z
LAST-MODIFIED:20251203T225327Z
UID:10000108-1764892800-1769903999@jamesmaherphotography.com
SUMMARY:Danny Lyon: The Texas Prison Photographs
DESCRIPTION:Howard Greenberg Gallery will present Danny Lyon: The Texas Prison Photographs from December 5\, 2025 through January 31\, 2026. A landmark depiction of incarceration\, the exhibition features photographs\, films\, drawings\, and ephemera from 1967-68. The Texas Prison Photographs marks acclaimed photographer and filmmaker Danny Lyon’s first show with Howard Greenberg Gallery following the announcement of the Gallery’s representation of Lyon in April 2025. The exhibition will open with a reception on December 5 from 5:30 to 7:30 p.m. with the artist in attendance. \nDanny Lyon revolutionized documentary photography in the 1960s with his radical participatory approach\, notably in the Civil Rights Movement and with the Chicago Outlaws motorcycle club\, which led to his book\, The Bikeriders. His New Journalism style was rooted in involvement\, as he explained: “I was a participant who also happened to be a photographer.” \nIn 1967\, Lyon gained unprecedented access to seven Texas penitentiaries for 14 months\, aiming to record the reality of incarceration. He was free to enter the prisons at any time of the day or night\, and photographed men in their cells\, in the fields and factories where they worked\, eating at the cafeteria\, in isolation and during shakedowns. This resulted in raw\, empathetic images of marginalized individuals\, published in 1971 as the highly regarded photobook Conversations with the Dead. Known for his immersive approach\, Lyon’s style broke from traditional journalism by blending personal perspective with documentary storytelling. Revolutionary for its time\, Conversations with the Dead was among the first photobooks to incorporate ephemera\, setting a new standard in journalism and photography and influencing generations. \nPresenting Lyon’s record of Texas prisons\, the exhibition will showcase primarily vintage prints alongside select modern work and original artwork by the incarcerated\, as well as drawings\, letters\, prison-related documents\, audio interviews\, and 16mm film footage. Taken as a whole\, the exhibition offers not only a rare and intimate glimpse into life inside seven Texas penitentiaries in the late 1960s but highlights the relationships Lyon built with inmates. On view for the first time\, the exhibition will also present unpublished pictures by Lyon from his visits to the Goree Unit\, Texas’s women’s penitentiary. \nAs the copy on the back of the paperback edition of Conversations with the Dead noted\, “This shattering portrait of oppression and futility must be recognized as a plea to American Society—the ultimate warden of all our prisons.” \n“I kept wondering what the story was\, what wasn’t in the papers yet\, what I could discover and make public with my pictures\,” Lyon has stated. “Texas would change my life.” \nConcurrent with the exhibition at Howard Greenberg Gallery\, Lyon’s films\, including Willie (1985) and his films about undocumented Mexican workers\, will be presented at Metrograph and the Roxy Cinema. \nAbout Danny Lyon \nDanny Lyon was born in Brooklyn in 1942 and grew up in Queens. He bought his first camera during a summer trip in Germany before starting at the University of Chicago. In 1962 he hitchhiked to Cairo\, Illinois\, to begin his record of the civil rights movement. He became the first photographer for the Student Nonviolent Coordinating Committee (SNCC) and attended most major civil rights events\, becoming friends and roommates with John Lewis. In 1965\, he spent two years with the Chicago Outlaw Motorcycle Club\, which resulted in the acclaimed book The Bikeriders (Macmillan\, 1968; Twin Palms\, 1997; Chronicle\, 2003; Aperture\, 2014). In 1967\, he moved to Texas to work in the penitentiary system and published Conversations with the Dead (Henry Holt and Co.\, 1971; Phaidon\, 2015). After Texas he moved to New York and lived with the photographer and filmmaker Robert Frank. They formed a company\, Sweeney Films\, and Lyon turned his focus to non-fiction films. Lyon moved to New Mexico in 1970\, then to upstate New York in 1987. In 2023 The Bikeriders was released as a major motion picture. His photography can be found in the collections of major museums including the Metropolitan Museum of Art\, Museum of Modern Art\, and Whitney Museum of American Art\, New York; National Gallery of Art\, Washington\, DC; and the Art Institute of Chicago. Lyon is an active blogger at bleakbeauty.com; his IG is Dannylyonphotos2. He currently lives and works in New York City and New Mexico. \nhttps://www.howardgreenberg.com/exhibitions/danny-lyon
URL:https://jamesmaherphotography.com/event/danny-lyon-the-texas-prison-photographs/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/lyon.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250927
DTEND;VALUE=DATE:20251123
DTSTAMP:20251029T024040Z
CREATED:20251029T024040Z
LAST-MODIFIED:20251029T024040Z
UID:10000083-1758931200-1763855999@jamesmaherphotography.com
SUMMARY:Kenro Izu: Mono no Aware
DESCRIPTION:“Art and life are intertwined for me and my thoughts have often turned to the notion of beauty as understood in both Western and Japanese contexts. Encounters with Noh masks sparked a deep curiosity in their human expressions\, a fascination that intensified with time. The gaze of the masks seemed to penetrate one’s inner being\, reminding me that to observe is also to be observed\,” states Izu. “My exploration of Noh extended to its origins\, rooted in Shinto traditions and the Jinja shrines of Japan. I was drawn particularly to shrine forests\, where sacred trees\, rocks\, and dense spiritual groves evoke a sense of timelessness. During the COVID-19 lockdown\, my focus shifted to nearby subjects—wildflowers and grasses arranged in clay vases made from locally sourced materials. The fleeting beauty of their unnoticed bloom and decay resonated deeply with me.  I continue to be reminded of how daily life and environment shape artistic creation.” \nhttps://www.howardgreenberg.com/exhibitions/kenro-izu
URL:https://jamesmaherphotography.com/event/kenro-izu-mono-no-aware/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/greenberg.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250807
DTEND;VALUE=DATE:20250921
DTSTAMP:20250908T002351Z
CREATED:20250908T002351Z
LAST-MODIFIED:20250908T002351Z
UID:10000061-1754524800-1758412799@jamesmaherphotography.com
SUMMARY:Edward Burtynsky: Natural Commodities
DESCRIPTION:“My daughters will not see the same world I’ve seen in my lifetime\,” Burtynsky says. “These photographs bear witness to change that is already underway—irreversible in some cases—and ask us to consider the legacy we are leaving behind.” \nFeaturing images made between 2022 and 2024\, Natural Commodities draws a stark visual contrast between Earth’s untouched beauty and its transformation under industrial pressure. From the ancient\, verdant rain forests of Washington State to massive cobalt mining operations in the Democratic Republic of the Congo\, the exhibition charts what Burtynsky describes as “a continuum—from pristine ecosystems to the engineered terrains shaped by human need.” \nThe exhibition includes new work from Burtynsky’s forthcoming series Mining: For the Future\, offering a rare and timely look at the extractive industries shaping tomorrow’s green economy and the race to global electrification. This collection of images—many captured by drone and stitched into hyper-detailed\, panoramic compositions—depict both devastation and regeneration\, particularly in places like Türkiye\, where large-scale erosion control and reforestation are changing the landscape once again. \nAlso on view are majestic views of North America’s threatened wilderness: the Coast Mountains in British Columbia\, Canada\, where the shock of receding glaciers mark the frontlines of climate change; and Lake Mead in Nevada\, whose reservoir has reached historic lows due to prolonged droughts paired with increasing urban demand. These images function as both documents and omens—urgent reminders of what we stand to lose if we continue to push nature too far. Natural Commodities reveals the extraordinary tension between awe and reckoning that has defined Burtynsky’s work for over four decades.
URL:https://jamesmaherphotography.com/event/edward-burtynsky-natural-commodities/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/pf155985.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250529
DTEND;VALUE=DATE:20250802
DTSTAMP:20250613T210045Z
CREATED:20250613T210045Z
LAST-MODIFIED:20250613T210045Z
UID:10000052-1748476800-1754092799@jamesmaherphotography.com
SUMMARY:Sign of the Times & Mark Cohen: Low Ideas
DESCRIPTION:What makes a photograph emblematic of its time? A new exhibition at Howard Greenberg Gallery\, exploring photographs from 1932 to 2012 that are rooted in their particular eras\, will be on view from May 28 through July 31\, 2025. Sign of the Times will present more than 30 works from major photographers including Bob Adelman\, Edward Burtynsky\, William Gedney\, Frank Gohlke\, Henry Gruyaert\, Danny Lyon\, Nathan Lyons\, Vivian Maier\, Mary Ellen Mark\, Steve Schapiro\, Ed Van Der Elsken\, and Weegee.  \nSign of the Times serves as a poignant visual chronicle\, freezing specific moments within the flow of history. Initially snapshots of their eras\, these images have gradually accrued layers of significance\, their meanings deepening and evolving with the passage of time. Collectively\, the photographs on view coalesce into powerful and iconic reflections on the enduring struggles and triumphs of civil rights\, the burgeoning waves of feminism\, the stark realities of poverty\, climate change\, and other pivotal social and cultural forces that have shaped our world. \nSome images whisper the story of their time through subtle yet telling details – the sleek lines of a particular automobile\, the distinctive character of a typeface on a storefront\, or the unmistakable silhouette of a hairstyle. These visual cues act as quiet markers\, anchoring the photographs firmly within their historical context. Other images\, however\, deliver their messages with a far more direct and assertive voice. Consider\, for instance\, Vivian Maier’s 1971 photograph of a newsstand where an issue of LIFE boldly proclaims on its cover: “Saucy Feminist that Even Men Like” – a statement that encapsulates the shifting social dynamics and evolving perceptions of women during that era. \nIntriguingly\, many of the messages embedded within these historical frames continue to resonate with profound relevance in our present day. In a stark 1963 photograph by Bob Adelman\, the word “Equality” is etched onto the frosted window of a Freedom Riders bus. Similarly\, a 1966-67 shot by William Gedney captures a couple seated on the trunk of a car in a seemingly ordinary parking lot\, yet their silent protest is amplified by a hand-held sign emblazoned with the stark truth: “Under Paid.” Anxieties and uncertainties echo in Steve Schapiro’s 1966 photograph\, where a woman reclines\, engrossed in a newspaper whose screaming headline declares with chilling foreboding\, “The Worst is Yet to Come.”  \nAs curator David Campany has written\, “A photograph can be a document and an imagining\, a record and a possibility\, all at the same time.” Sign of the Times is curated by the gallery staff with each member making a specific selection of three works.  \nhttps://www.howardgreenberg.com/exhibitions
URL:https://jamesmaherphotography.com/event/sign-of-the-times-mark-cohen-low-ideas/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/06/PF114821.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250322
DTEND;VALUE=DATE:20250525
DTSTAMP:20250317T015204Z
CREATED:20250317T015204Z
LAST-MODIFIED:20250317T015204Z
UID:10000011-1742601600-1748131199@jamesmaherphotography.com
SUMMARY:Reflections: Rahim Fortune
DESCRIPTION:“Reflections marks the first solo exhibition of photographer Rahim Fortune\, who hails from Texas. Over the past decade\, Rahim has used photography to explore collective history and cultural visual language in the American South by intertwining documentary and personal narratives. This exhibition showcases two bodies of work: I Can’t Stand To See You Cry (2021) and Hardtack (2024). \nRahim Fortune\, born 1994\, is a visual artist from the Chickasaw Nation of Oklahoma. He uses photography to ask fundamental questions about American identity. Focusing on the narratives of individual families and communities\, he explores shifting geographies of migration and resettlement and the way that these histories are written on the landscapes of Texas and the American South. \nFortune’s previous book\, I Can’t Stand to See You Cry\, was published by Loose Joints in 2021 and was nominated for the Paris Photo-Aperture Photobook of the Year and the winner of the Rencontres d’Arles Louis Roederer Discovery Award 2022. His 2024 monograph\, Hardtack (Loose Joints)\, has garnered international attention\, earning a nomination for the Deutsche Börse Photography Foundation Prize 2025. His work has been featured in exhibitions worldwide and many permanent collections\, including the High Museum of Art\, Atlanta\, GA; LUMA Arles\, France; the Victoria and Albert Museum\, London; the Virginia Museum of Art\, Richmond; the Nelson Atkins Museum\, Kansas City\, MO and the Boston Museum of Fine Art. Fortune is represented by Sasha Wolf Projects\, New York\, NY. \nI Can’t Stand To You Cry explores Texas\, the surrounding states\, and the people fixed within its complex landscape. Fortune analyses relationships between family\, friends\, and strangers\, all caught in a flood of health and environmental issues while working to maintain grace. The artist uses his experiences to explore the friction between public and private life and the unspoken tensions in daily life through an approach rooted in the landscape. Moreover\, Fortune’s biographical approach to photography attempts to unpack his identity and experience amid a pandemic\, civil unrest\, a cross-country move\, a career\, and the loss of a parent\, thinking about the future and the past. \nIn Hardtack\, Fortune borrows from the language of vernacular and archival photography to interrogate his community’s historical relationship to photography. Rooted in the landscape\, Fortune often uses sites of historical and cultural interest as a guide but not a subject\, implying the deep ties that bind modern Black communities resiliently to their regions in the face of adversity and joy. A significant theme in Hardtack is Fortune’s striking portraits of coming-of-age traditions. Inside\, young bull riders\, praise dancers\, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune’s dignifying eye pays tribute to these cultural performances’ rigor\, discipline\, and creative flair and the intergenerational conversation between young people and elders who pass down these traditions.” \nhttps://www.howardgreenberg.com/exhibitions/rahim-fortune
URL:https://jamesmaherphotography.com/event/reflections-rahim-fortune/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-9.jpeg
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