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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:20250619
DTEND;VALUE=DATE:20250929
DTSTAMP:20250509T205938Z
CREATED:20250509T205938Z
LAST-MODIFIED:20250509T205938Z
UID:10000039-1750291200-1759103999@jamesmaherphotography.com
SUMMARY:Edward Burtynsky: The Great Acceleration
DESCRIPTION:The Great Acceleration\, the first solo institutional exhibition of world renowned photographer Edward Burtynsky’s work in New York City in over twenty years\, reveals the depth of Burtynsky’s investigation into the human alteration of natural landscapes around the world\, showing their present fragility and enduring beauty in equal measure. \nCurated by David Campany\, Creative Director at ICP\, this retrospective exhibition  will present over seventy photographs\, including many of Burtynsky’s landmark images\, some of which have never previously been shown\, along with three ultra high-resolution murals. The exhibition will also include a visual and narrative timeline of Burtynsky’s creative life. Intentionally scheduled to extend through Climate Week NYC in September 2025\, The Great Acceleration will serve not only as an urgent call for action\, but will also give visitors the opportunity to appreciate the sublimity that remains in the landscape\, while also deepening our understanding of the challenges that confront us today. In this way\, The Great Acceleration upholds ICP’s long-standing and core commitment to present concerned photography that can inspire new audiences. \nThe Great Acceleration is an established term used to describe the rapid rise of human impact on our planet according to a range of measures\, among them population growth\, water usage\, transportation\, greenhouse gas emissions\, resource extraction and food production\, each of which Burtynsky has photographed the outward signs of at length and in great detail over the past forty years. From open pit mines across North America to oil derricks in Azerbaijan\, from rice terraces in China to oil bunkering in Nigeria\, Burtynsky has travelled across the world and back again as part of his restless and seemingly inexhaustible drive to discover the ways\, both old and new\, that organized human activity has transformed the natural world. Though already unified by both the precision and formal beauty that Burtynsky deploys to create each photograph\, The Great Acceleration further underscores that\, like their respective subjects\, each project remains fundamentally interconnected. \nhttps://www.icp.org/exhibitions/edward-burtynsky-great-acceleration
URL:https://jamesmaherphotography.com/event/edward-burtynsky-the-great-acceleration/
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/2025/05/edwardburtynsky.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250929
DTSTAMP:20250509T205636Z
CREATED:20250509T205636Z
LAST-MODIFIED:20250509T205636Z
UID:10000038-1750291200-1759103999@jamesmaherphotography.com
SUMMARY:Sheida Soleimani: Panjereh
DESCRIPTION:The International Center of Photography (ICP) is proud to present Panjereh\, an exhibition by Iranian-American artist Sheida Soleimani. Panjereh—which means ‘window’ or ‘passageway’ in Farsi—builds on Soleimani’s ongoing Ghostwriter series\, in which she explores her parents’ experiences of political exile and migration as a lens to examine broader systems of geopolitics. Known for her intricate\, studio-based compositions that combine photographs\, props\, live animals and even her own parents in surreal\, magical realist scenes\, Soleimani expands her practice in Panjereh with the debut of a new body of work featuring injured birds. These images draw from her work as a wildlife rehabilitator and founder of Congress of the Birds\, a federally licensed wild bird rehabilitation center in Rhode Island. The exhibition will also include a new site-specific wall drawing created specifically for ICP’s galleries.  \nCurated by Elisabeth Sherman\, Guest Curator\, the exhibition will bring together more than forty photographs\, the vast majority of which have never before been shown in New York. Sherman states\, “In her work\, Soleimani uniquely braids together the complex particularities of her family’s history\, deep research into geopolitics and her inherited passion for care work into a visual language completely her own. The magically inventive spaces she creates allow for complexity in telling these stories\, honoring their richness and continually unfolding nature. It is truly an honor to be presenting her first solo exhibition in New York\, specifically at an institution historically dedicated to photography that engages with the politics of our time.”   \nThe Ghostwriter series takes Soleimani’s family history—specifically that of her parents’ flight from Iran as political refugees following the 1979 revolution—as an overarching conceptual framework that informs her creative process\, from the significance of the objects and family ephemera she uses to the compositions of the photographs themselves. The series carries out a form of ‘ghostwriting’ in the way it both narrates and reconstructs the lives of Soleimani’s parents without utilizing their voices directly. The works focus on their lives in Iran as pro-democracy activists before then being forced to flee the country\, enduring both physical and psychological hardship on their way to eventual resettlement in the United States. Soleimani’s mother was forced to give up being a practicing nurse\, leading her to begin caring for wild birds\, a skill which she would eventually pass along to her daughter.   \nWith their personal emphasis\, the Ghostwriter works present a distinct expression of Soleimani’s longstanding interest in Iranian history and the contemporary geopolitics between the West and the Middle East. Rather than address this history using a strictly documentary approach\, Soleimani instead examines storytelling and memory as the primary means through which these stories are transmitted; the construction of her pictures captures the way that detail and meaning are often obscured\, transformed or difficult to fully grasp. This process is expressed by the degree of visual compression and accumulation of detail that Soleimani’s photographs contain\, as specific passages\, details or textures—wildlife and plants\, architecture and landscape—regularly function as stand-ins and metaphors rather than straightforward description. Soleimani situates artifacts from her parents’ journey against backgrounds made up of imagery pulled from a variety of archival family photographs\, resulting in works that are layered composites of multiple stories\, documenting factual traces of history within newly imagined spaces.  \nA new development within the Ghostwriter series are the Flyways photographs\, which draw attention to the plight of migratory birds\, many of whom are wounded on their long journeys through populated areas. Soleimani’s work as a federally licensed wildlife rehabilitator grew out of a care practice that she learned from her mother and forms part of a larger cultural inheritance that has been passed down to her. Assuming the position of primary characters\, the birds that Soleimani photographs and places within her tableaux provide a metaphor for the many social\, political and environmental obstructions met by people forced into flights of their own.  \nThis new group of analog photographs that Soleimani made of rehabilitated birds presents a unique kind of maximalism despite their small scale while also forgoing the complex layering of reference and imagery typical of the Ghostwriter series. Shot in extreme close-up\, these works render the bodies of birds as intensely detailed and complex worlds unto themselves\, where feathers\, talons and eyes are as richly described as Soleimani’s family history is explored. The acts of care contained within these images highlights the relationship between care and political resistance that has unfolded not only with Soleimani’s own family\, but which remains critically important for our present moment.  \n  \nAbout Sheida Soleimani  \nSheida Soleimani (b. 1990) is an Iranian-American artist\, educator and activist. The daughter of political refugees who escaped Iran in the early 1980s\, Soleimani makes work that excavates the histories of violence linking Iran\, the United States and the Greater SWANA Region. In working across form and medium—especially photography\, sculpture\, collage and film—she often appropriates source images from popular/digital media and resituates them within defamiliarizing tableaux. The composition depends on the question at hand. For example\, how can one do justice to survivor testimony and to the survivors themselves (To Oblivion)? What are the connections between oil\, corruption and human rights abuses among OPEC nations (Medium of Exchange)? How do nations work out reparations deals that often turn the ethics of historical injustice into playing fields for their own economic interests (Reparations Packages)? How may the layering of memory and familial history both report fact and produce a reckoning with the intimate resonances of a geopolitics of violence (Ghostwriter)? In contrast to Western news\, which rarely covers these problems\, Soleimani makes work that persuades spectators to address them directly and effectively.   \nSoleimani’s work is held in permanent collections including the Guggenheim Museum\, Museum of Fine Arts Boston\, Pennsylvania Academy of Fine Arts\, MIT List Visual Art Center and Kadist Paris. Her work has been recognized internationally in both exhibitions and publications such as The New York Times\, Financial Times\, Art in America\, Interview Magazine\, and many others. Based in Providence\, Rhode Island\, Soleimani is also an Associate Professor of Studio Art at Brandeis University and a federally licensed wildlife rehabilitator.  \nhttps://www.icp.org/exhibitions/sheida-soleimani-panjereh
URL:https://jamesmaherphotography.com/event/sheida-soleimani-panjereh/
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/2025/05/sheidasoleimani.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250123T080000
DTEND;TZID=America/New_York:20250505T170000
DTSTAMP:20250317T002815Z
CREATED:20250317T002815Z
LAST-MODIFIED:20250317T002815Z
UID:10000007-1737619200-1746464400@jamesmaherphotography.com
SUMMARY:To Conjure: New Archives in Recent Photography
DESCRIPTION:“Curated by Sara Ickow\, Associate Director of Exhibitions\, Keisha Scarville Guest Curator\, and Elisabeth Sherman\, Senior Curator and Director of Exhibitions and Collections at ICP\, To Conjure: New Archives in Recent Photography brings together the work of seven artists primarily working in photography—Widline Cadet\, Koyoltzintli\, Tarrah Krajnak\, Shala Miller\, Kameelah Janan Rasheed\, Keisha Scarville\, and Sasha Wortzel. The exhibition reimagines what an archive can be or might look like—more than just a means of recuperating the past\, these artists utilize the archive as a form for imagining new futures. \nMoving away from the centrality of the institutional archive\, the artists in To Conjure expand its parameters by engaging with materials—clothing\, instruments\, the landscape and more—beyond photographs and documents alone. By working with a myriad of contemporary materials\, these artists create new histories and material sensibilities.” \nhttps://www.icp.org/exhibitions/to-conjure-new-archives-in-recent-photography
URL:https://jamesmaherphotography.com/event/to-conjure-new-archives-in-recent-photography/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/png:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-1.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250123
DTEND;VALUE=DATE:20250506
DTSTAMP:20250317T002505Z
CREATED:20250317T002505Z
LAST-MODIFIED:20250317T002505Z
UID:10000006-1737590400-1746489599@jamesmaherphotography.com
SUMMARY:American Job: 1940-2011
DESCRIPTION:“Drawing from works by more than 40 photographers in the ICP collection\, with the addition of exhibition prints from contemporary photographers\, American Job: 1940-2011 highlights the collection’s breadth and contemporary relevance by surveying the photographic response to labor organizing and strike activity\, race and gender discrimination in labor\, organized labor’s role in politics\, labor and activism\, and the intersection of labor and the social changes wrought by the economic restructurings of the twentieth century. This exhibition is guest curated by Makeda Best\, photography historian.and Deputy Director of Curatorial Affairs at the Oakland Museum of California. \nOrganized chronologically in five sections\, the exhibition explores the transformation of work in America\, and with it the rise of activism and new forms of solidarity in pursuit of humane working conditions and economic equity. Including over 130 photographs\, along with photobooks and a wide range of ephemera that underscore text and image based storytelling\, American Job: 1940-2011 introduces lesser-known images from the ICP collection\, provides new contexts for celebrated bodies of work\, illustrates the contributions of professional photojournalists and community-based documentarians to the historical record of the twentieth century\, and demonstrates the breadth of ICP’s collection of works from across the country.  \nThis exhibition features works by photographers including Cornell Capa\, Chien-Chi Chang\, Arnold Eagle\, Robert Frank\, Otto Hagel\, Bettye Lane\, Freda Leinwand\, Ken Light\, Danny Lyon\, Susan Meiselas\, Charles Moore\, Barbara Norfleet\, Gordon Parks\, Sophie Rivera\, Accra Shepp\, Eugene Smith\, Dylan Vitone\, Todd Webb\, Dan Weiner\, Bill Wood\, and many more.” \nhttps://www.icp.org/exhibitions/american-job-1940-2011
URL:https://jamesmaherphotography.com/event/american-job-1940-2011/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/png:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250123
DTEND;VALUE=DATE:20250506
DTSTAMP:20250316T234209Z
CREATED:20250316T045718Z
LAST-MODIFIED:20250316T234209Z
UID:10000001-1737590400-1746489599@jamesmaherphotography.com
SUMMARY:Weegee: Society of the Spectacle
DESCRIPTION:“The career of photographer Weegee (born Arthur Fellig\, 1899-1968) is often divided into two distinct phases\, one gritty\, the other glamorous. Celebrated for his sensationalist images of crime scenes\, fires\, car crashes\, and the onlookers who witnessed these harrowing events across New York City in the 1930s and ‘40s\, Weegee also spent time in his career documenting the joyful crowds\, premieres\, and celebrities of Hollywood. His documentary images on both coasts gave way to experimental portraits late in his life\, which were distorted using a kaleidoscope and other tricks from his technical toolbox. Weegee: Society of the Spectacle aims to reconcile these two sides of Weegee through an investigation of his focus\, throughout his career\, on a critique of 20th century popular culture and its insatiable appetite for spectacle.  \nWeegee: Society of the Spectacle is curated by Clément Chéroux\, Director of the Fondation Henri Cartier-Bresson (FHCB)\, Paris\, in collaboration with the Weegee Archive at the International Center of Photography (ICP)\, New York. The exhibition opens at ICP after a run at the FHCB and the Fundación MAPFRE\, Madrid. The exhibition will be accompanied by the publication Weegee: Society of the Spectacle (Thames & Hudson).” \nhttps://www.icp.org/exhibitions/weegee-society-of-the-spectacle
URL:https://jamesmaherphotography.com/event/weegee-society-of-the-spectacle/
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/2025/03/image.jpeg
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