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X-WR-CALNAME:New York Photography, Prints, Portraits, Events, Workshops
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X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
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DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140228Z
CREATED:20260618T140228Z
LAST-MODIFIED:20260618T140228Z
UID:10000134-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Yves Saint Laurent and Photography
DESCRIPTION:Yves Saint Laurent and Photography explores the powerful relationship Yves Saint Laurent forged between fashion and photography over four decades\, revealing how photography functioned not only as a tool for promotion but also as a creative force that helped define a legacy. Organized in collaboration with the Musée Yves Saint Laurent Paris and the Fondation Pierre Bergé–Yves Saint Laurent\, it brings together nearly 300 iconic photographs and archival objects. \nFeaturing work by celebrated artists such as Richard Avedon\, Cecil Beaton\, Guy Bourdin\, Robert Doisneau\, Horst P. Horst\, William Klein\, Annie Leibovitz\, Steven Meisel\, Duane Michals\, Helmut Newton\, Irving Penn\, David Seidner\, Andy Warhol\, and others\, the exhibition pairs these photographs with contact sheets\, campaign materials\, magazines\, and personal images. Together\, they reveal how Yves Saint Laurent established a blueprint for the way the fashion world is visualized and understood today. \nCurated by Simon Baker\, Guest Curator and photography historian; Nastasia Alberti\, Deputy Head of Collections and Head Archivist; and Clémentine Cuinet\, Head of Photographic Collections\, both of the Musée Yves Saint Laurent Paris. \nAbout Yves Saint Laurent \nYves Mathieu-Saint-Laurent (b. 1936\, Oran\, Algeria) began his career in Paris in 1955 as an assistant to renowned couturier Christian Dior. Following Dior’s sudden death in 1957\, Yves Saint Laurent was appointed artistic director of the Musée Yves Saint Laurent Paris and his designs quickly gained critical acclaim. Dismissed from Dior in 1960 after military service and a subsequent hospitalization for depression\, he founded his own couture house in partnership with Pierre Bergé\, whom he had met in 1958. The first collection was presented in 1962 and the house became known for reinterpreting traditionally masculine garments like pantsuits and trench coats into bold\, feminine looks that redefined the wardrobe of the modern woman.  \nIn 1966\, he launched SAINT LAURENT rive gauche\, a ready-to-wear line with stores opened internationally. Influenced by different cultures\, Yves Saint Laurent’s designs paid tribute to artists including Mondrian\, Picasso and Van Gogh and drew inspiration from faraway places––most notably Marrakech. This prolific output spanned thirty years and was the subject of numerous awards and exhibitions across the globe. Yves Saint Laurent retired and closed the couture house in 2002\, at which point the newly-formed Fondation Pierre Bergé–Yves Saint Laurent assumed responsibility for advancing and safeguarding his work. Yves Saint Laurent died at his Paris home on June 1\, 2008\, at the age of seventy-one. \nIn 2017\, the Fondation Pierre Bergé–Yves Saint Laurent was re-envisioned with the opening of two museums in Paris and Marrakech. These institutions preserve and celebrate one of the twentieth century’s most defining creative legacies. \nAbout Musée Yves Saint Laurent Paris \nThe Musée Yves Saint Laurent Paris\, chaired by Madison Cox\, is the first museum dedicated to one of the greatest couturiers of the twentieth century to open in the capital of fashion. It opened its doors on October 3\, 2017\, fifteen years after the closing of the haute couture house and obtained the designation ‘Musée de France.’ It occupies the historic hôtel particulier at 5 Avenue Marceau where for nearly thirty years\, from 1974 to 2002\, Yves Saint Laurent’s creative genius held sway. The museum’s vast collection includes 12\,000 garments\, including 8\,300 haute couture pieces more than 100\,000 graphic artworks\, including 55\,000 fashion sketches by the couturier and 194\,000 photographs comprising of diapositives\, negatives and vintage and modern prints\, as well as an archive of more than 4\,000 magazines and 60\,000 documents\, including correspondence\, audiovisual materials and personal objects\, completing the collection. This ensemble is the result of the pioneering and systematic archival work initiated by Yves Saint Laurent and Pierre Bergé. The Musée Yves Saint Laurent Paris is temporarily closed for renovations. It is scheduled to reopen in the fall of 2027. \nHeader image: Ensemble worn by Edia Vairelli\, Haute Couture Spring/Summer 1982 collection\, 5 Avenue Marceau\, Paris\, January 1982. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent; Tailored suit worn by Anna Karin\, Haute Couture Autumn/Winter 1991 collection\, 5 Avenue Marceau\, Paris\, July 1991. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent \nhttps://www.icp.org/exhibitions/yves-saint-laurent-and-photography
URL:https://jamesmaherphotography.com/event/yves-saint-laurent-and-photography/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140441Z
CREATED:20260618T140441Z
LAST-MODIFIED:20260618T140441Z
UID:10000135-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Photobooks USA 2000–25
DESCRIPTION:Photobooks USA 2000–25 explores how the photobook has emerged as a powerful tool for artists to respond to the forces shaping contemporary life in the United States. Over the past 25 years\, this evolution is reflected in the growing number of publications\, a wider range of publishers\, bold experimentation in design\, and greater inclusivity. \nFeaturing over 50 photobooks—from out-of-print titles to more recent landmark publications—the exhibition presents a cross section of creators\, themes\, forms\, and subjects\, examining how artists have used the photobook to present and circulate their work in powerful and innovative ways.  \nRather than defining a canon or focusing on bestselling or award-winning titles\, the exhibition brings together books that explore different aspects of the United States. Taken as a whole\, they reflect the artistic\, social\, cultural\, political\, environmental and economic conversations shaping the twenty-first century. \nCurated by ICP’s Creative Director David Campany\, Associate Director of Exhibitions Sara Ickow\, and Curatorial Assistant malaika newsome. \nhttps://www.icp.org/exhibitions/photobooks-usa-2000-25
URL:https://jamesmaherphotography.com/event/photobooks-usa-2000-25/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270105
DTSTAMP:20260812T170024Z
CREATED:20260812T170024Z
LAST-MODIFIED:20260812T170024Z
UID:10000149-1792022400-1799107199@jamesmaherphotography.com
SUMMARY:Laia Abril: On Rape and Institutional Failure
DESCRIPTION:In On Rape and Institutional Failure\, an exhibition centered on the second chapter of her ongoing project A History of Misogyny\, Laia Abril examines different forms of violence against women throughout history. \nWeaving together images\, compiled testimonies\, archival materials\, select objects\, and installations with sound and video\, the exhibition investigates how gender-based stereotypes\, coupled with worldwide prejudices and misconceptions\, have contributed to a systemic rape culture that persists today. \nBy focusing on institutions\, Abril aims to avoid narratives of victim-blaming\, instead addressing the on-going problem of social accountability that has allowed offenders and enablers alike to avoid justice. On Rape and Institutional Failure was first exhibited in 2020 in the wake of the initial\, galvanizing allegations against Harvey Weinstein and other powerful men. While #MeToo has led to few sustained consequences and little systemic change\, Abril offers a meaningful opportunity to address the long history of silencing victims and the transgenerational trauma that has developed as a result. \nhttps://www.icp.org/exhibitions/laia-abril-rape-and-institutional-failure
URL:https://jamesmaherphotography.com/event/laia-abril-on-rape-and-institutional-failure/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270112
DTSTAMP:20260812T170020Z
CREATED:20260812T170020Z
LAST-MODIFIED:20260812T170020Z
UID:10000148-1792022400-1799711999@jamesmaherphotography.com
SUMMARY:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now
DESCRIPTION:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now reconsiders and expands on the history of Japanese photography through the work twenty-eight intergenerational artists from the 1950s to today. Presented in partnership with Aperture and curated by Pauline Vermare\, Lesley A. Martin\, and Takeuchi Mariko\, the exhibition includes work Fujioka Aya\, Hara Mikiko\, Hiromix\, Ishikawa Mao\, Ishiuchi Miyako\, Katayama Mari\, Kawauchi Rinko\, Komatsu Hiroko\, Kon Michiko\, Nagashima Yurie\, Narahashi Asako\, Ninagawa Mika\, Nishimura Tamiko\, Noguchi Rika\, Nomura Sakiko\, Okabe Momo\, Okanoue Toshiko\, Onodera Yuki\, Sawada Tomoko\, Shiga Lieko\, Sugiura Kunié\, Suzuki Nozomi\, Tawada Yuki\, Tokiwa Toyoko\, Ushioda Tokuko\, Watanabe Hitomi\, Yamazawa Eiko and Yanagi Miwa. \nSpanning photography\, installation\, photobooks\, and printed matter\, the exhibition explores the experiences and perspectives of women in Japan through delicate and blunt observations of everyday life\, critical reflections on the roles inhabited and reshaped by Japanese women\, and approaches that push the boundaries of photography. The exhibition is accompanied by a major publication (Aperture\, 2024) that expands upon content of the show through essays\, historical material\, and a comprehensive bibliography of photobooks made by Japanese women. \nhttps://www.icp.org/exhibitions/im-so-happy-you-are-here-japanese-women-photographers-1950s-now
URL:https://jamesmaherphotography.com/event/im-so-happy-you-are-here-japanese-women-photographers-from-the-1950s-to-now/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/im-so-happy-japanese-women-photographers-icp.jpg
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