BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.16.5.1//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:20251101
DTEND;VALUE=DATE:20260504
DTSTAMP:20251125T181206Z
CREATED:20251125T181206Z
LAST-MODIFIED:20251125T181206Z
UID:10000103-1761955200-1777852799@jamesmaherphotography.com
SUMMARY:Selections from The Walther Collection
DESCRIPTION:The world looks different through a camera’s viewfinder—like a picture frame or a windowpane\, it redirects the eye. In modern and contemporary photographs from an esteemed private collection\, artists use the camera to navigate shifting terrain. Registering and reshaping environments in flux\, they look anew at how we traverse them. \nWhen Artur Walther began to acquire photography\, he aimed to expand the parameters of the field. Assembled over three decades and across five continents\, his vast collection brings together a diverse group of makers—some celebrated and others still unknown. View Finding: Selections from The Walther Collection introduces his landmark gift of over 6\,500 works and highlights the collection’s pioneering point of view. Presenting international perspectives on hyperlocal subjects\, it showcases the camera as a tool for creativity and critique. With inventive eyes\, the photographers in View Finding study the sidewalks of Nairobi and storefronts of Fifth Avenue. They search public parks from Tokyo to Tangier. In private bedrooms\, parking lots\, and other places easy to overlook\, they focus in\, finding—here and there—unlikely sites of self-reflection and social change. The exhibition is made possible by Joyce Frank Menschel. \n\n\nNow on view at The Met Fifth Avenue in Gallery 851\n\n\n\n\n\n\nhttps://www.metmuseum.org/exhibitions/view-finding-selections-from-the-walther-collection
URL:https://jamesmaherphotography.com/event/selections-from-the-walther-collection/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/MET-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20260126
DTSTAMP:20251029T025833Z
CREATED:20251029T025833Z
LAST-MODIFIED:20251029T025833Z
UID:10000089-1759276800-1769385599@jamesmaherphotography.com
SUMMARY:Casa Susanna
DESCRIPTION:Casa Susanna brings together photographs and publications created by and for a community of cross-dressers who met regularly in New York City and the Catskill Mountains throughout the 1960s. Two modest resorts run by Susanna Valenti and her wife\, Marie Tornell\, provided safe spaces for guests to freely cross-dress en femme during an era of strictly defined gender roles. They used the camera to create and affirm their femme identities\, exchanging photographs at gatherings or sharing them by mail. These snapshots—some candid\, others playfully performative—were rediscovered at a Manhattan flea market in 2004 and have come to be known as the Casa Susanna photographs. The exhibition also features issues of Transvestia\, an underground magazine that published the photographs along with fiction\, poetry\, makeup and clothing advice\, and autobiographical essays by members of the community. \nDuring this period\, most cross-dressers lived in isolation and shame. The exhibition presents new research into the double lives cross-dressers led as married men with established careers. The photographs also bring to light the type of woman they aimed to embody—such as the “girl next door\,” the respectable housewife\, the matron—a middle-class ideal of femininity that was both liberating and limiting. Casa Susanna offers insight into a significant pre-Stonewall cross-dressing scene\, inviting visitors to understand this world and its connection to the lives of transgender people today. \nThe exhibition is organized by the Art Gallery of Ontario and Les Rencontres d’Arles in collaboration with The Metropolitan Museum of Art. \nThe exhibition is made possible by The Robert Mapplethorpe Foundation\, Inc. \nhttps://www.metmuseum.org/exhibitions/casa-susanna
URL:https://jamesmaherphotography.com/event/casa-susanna/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/met.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250914
DTEND;VALUE=DATE:20260202
DTSTAMP:20250509T211806Z
CREATED:20250509T211806Z
LAST-MODIFIED:20250509T211806Z
UID:10000043-1757808000-1769990399@jamesmaherphotography.com
SUMMARY:Man Ray: When Objects Dream
DESCRIPTION:Location: The Met Fifth Avenue\, Floor 1\, Gallery 199\n \nThe Met to Present First Major Exhibition on Man Ray’s Media-Crossing Experimentation and his Radical Reinvention of Art through the Rayograph \n\nFeaturing 160 rayographs\, paintings\, objects\, prints\, drawings\, films\, and photographs\, Man Ray: When Objects Dream will highlight the principal place of the rayograph—a type of cameraless photograph—within the context of many of the artist’s most important works \n\nMan Ray: When Objects Dream at The Metropolitan Museum of Art is the first major exhibition to examine the media-crossing\, radical experimentation of American artist Man Ray (1890–1976) through one of his most significant bodies of work\, the rayograph. Man Ray coined the term rayograph to name his version of the 19th-century technique of making photographs without a camera. He created them by placing objects on or near a sheet of light-sensitive paper\, which he then exposed to light and developed. These photograms—as they are also called—appear as reversed silhouettes\, or negative versions\, of their subjects. They often feature recognizable items that become wonderfully mysterious in the artist’s hands. Their transformative nature led the Dada poet Tristan Tzara to describe rayographs as capturing the moments “when objects dream.” While Man Ray acknowledged the photographic origins of his new works\, he did not think of them as strictly bound by medium. Taking Man Ray’s lead\, this presentation will be the first—more than a century since he introduced the rayograph—to situate this signature accomplishment in relation to his larger artistic output. The exhibition will be on view September 14\, 2025\, through February 1\, 2026. \nThe exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation. \nMajor funding is provided by Linda Macklowe\, the Horace W. Goldsmith Foundation\, and Andrea Krantz and Harvey Sawikin. \nAdditional support is provided by the Vanguard Council. \nDrawing from the collections of The Met and more than 50 U.S. and international lenders\, the presentation will include more than 60 rayographs\, many of which were featured in important publications and exhibitions at the time of their making\, and 100 paintings\, objects\, prints\, drawings\, films\, and photographs to highlight the central role of the rayograph in Man Ray’s boundary-breaking practice. The exhibition marks a collaboration with the Lens Media Lab\, Yale University\, under the direction of Paul Messier\, and with photography conservators and curators at various lending institutions\, to study more than fifty rayographs. \n“As one of the most fascinating and multi-faceted artists in the avant-garde movements of the early 20th century\, Man Ray challenged traditional narratives of modernism through his daring experimentation with diverse artistic mediums\,” said Max Hollein\, The Met’s Marina Kellen French Director and Chief Executive Officer. “Anchored by Man Ray’s innovative and mesmerizing rayographs along with new research and discoveries\, this exhibition invites visitors to explore his ground-breaking manipulation of objects\, light\, and media\, which profoundly reframed his artistic practice and impacted countless other artists.” \nIn the winter of 1921\, while working late in his Paris darkroom\, Man Ray inadvertently produced a photogram by placing some of his glass equipment on top of an unexposed sheet of photographic paper he found among the prints in his developing tray. As he wrote in his 1963 autobiography\, “Before my eyes an image began to form\, not quite a simple silhouette of the objects as in a straight photograph\, but distorted and refracted … In the morning I examined the results\, pinning a couple of the Rayographs—as I decided to call them—on the wall. They looked startlingly new and mysterious.” This supposed accident\, now the stuff of legend\, has obscured the fact that rayographs might be seen as the culmination of Man Ray’s work up to 1921 as well as the frame through which he would redefine his work thereafter. They harnessed his interests in working between dimensions\, media\, and artistic traditions\, fittingly at the moment between Dada and Surrealism\, which writer Louis Aragon once called the mouvement flou (flou means “hazy\, blurry\, or out of focus” in French). \nUnfolding in a series of spaces that intersect with a central\, dramatic presentation of more than 60 rayographs\, the exhibition will illuminate their connections with Man Ray’s work in other media\, including assemblages\, rarely seen paintings\, and films. Thematic sections will highlight such concepts as dreams\, the body\, and games. Other groupings will focus on specific media\, unexpected techniques\, the artist’s studio\, and watershed moments\, such as the years 1923 and 1929\, in the artist’s production. \nOn view will be iconic objects like Man Ray’s iron studded with tacks\, known as Gift (1921)\, and his metronome\, Object to be Destroyed (1923)\, that keeps time with the swinging eye of his companion\, the photographer Lee Miller. Celebrated photographs\, including his landmark Violon d’Ingres (1924)\, in which the torso of Kiki de Montparnasse (Alice Prin) is depicted as a musical instrument\, will also be featured. The exhibition will also bring together some of his boldest but most refined experimental works—compositions like ANPOR (1919)\, a painting made with an airbrush and pigment sprayed through and around objects in his studio. A section of the exhibition will feature several little-known paintings made at a moment when Man Ray had publicly sworn off the “sticky medium of paint” but had returned to the canvas armed with the lessons of making rayographs. Works such as Swedish Landscape (1926) show the artist applying pigment without a brush\, working it in an almost sculptural way\, building up and scraping down the surface. Three of Man Ray’s films (all of which have been newly restored) will be screened in the exhibition. \nhttps://www.metmuseum.org/press-releases/man-ray
URL:https://jamesmaherphotography.com/event/man-ray-when-objects-dream/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/man-ray-met.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250411
DTEND;VALUE=DATE:20250721
DTSTAMP:20250330T050419Z
CREATED:20250317T014153Z
LAST-MODIFIED:20250330T050419Z
UID:10000009-1744329600-1753055999@jamesmaherphotography.com
SUMMARY:The New Art: American Photography\, 1839–1910
DESCRIPTION:“This exhibition presents a bold new history of American photography from the medium’s birth in 1839 to the first decade of the 20th century. Drawn from The Met’s William L. Schaeffer Collection\, major works by lauded artists such as Josiah Johnson Hawes\, John Moran\, Carleton Watkins\, and Alice Austen are shown in dialogue with extraordinary photographs by obscure or unknown practitioners made in small towns and cities from coast to coast. Featuring a range of formats\, from daguerreotypes and cartes de visite to stereographs and cyanotypes\, the show explores the dramatic change in the nation’s sense of itself that was driven by the immediate success of photography as a cultural\, commercial\, artistic\, and psychological preoccupation. In 1835\, even before the nearly simultaneous announcement of the invention of the new art in Paris and London\, the American philosopher essayist Ralph Waldo Emerson noted with remarkable vision: “Our Age is Ocular.” \nhttps://www.metmuseum.org/exhibitions/the-new-art-american-photography-1839-1910
URL:https://jamesmaherphotography.com/event/the-new-art-american-photography-1839-1910/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-7-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250512
DTSTAMP:20250327T031308Z
CREATED:20250316T050452Z
LAST-MODIFIED:20250327T031308Z
UID:10000002-1741996800-1747007999@jamesmaherphotography.com
SUMMARY:Floridas: Anastasia Samoylova and Walker Evans
DESCRIPTION:Metropolitan Museum of Art \n“Nothing in Florida is quite what it seems. A popular tourist destination since the early twentieth century\, it is a place where fantasy and reality collide\, a subtropical paradise threatened by hurricanes and rising sea levels\, a refuge for extremism and eccentricity. This exhibition brings together photographs and paintings of Florida by two artists of different generations who have sought to understand its complexity and contradictions: Anastasia Samoylova (born 1984)\, a Russian-American photographer based in Miami\, and Walker Evans (1903–1975)\, an influential originator of documentary-style American photography. \n“Florida is ghastly and very pleasant where I am\,” Evans wrote to a friend during his first visit there\, in 1934. Over the next forty years\, he returned repeatedly\, creating a large but little-known body of work depicting the state’s unique natural and cultural landscape: palm trees and pelicans\, real estate billboards and souvenir stands\, Gilded Age mansions and “tin can” tourist camps. In addition to photographs\, the exhibition includes paintings\, negatives\, and postcards drawn from The Met’s Walker Evans Archive. \nSamoylova has been photographing Florida since 2016\, crisscrossing the state in a series of meandering road trips\, from the southernmost Keys to the state’s borders with Alabama and Georgia. Building on Evans’s legacy\, she creates vibrant photographs and mixed-media paintings that temper the shimmering seductions of the Sunshine State with an awareness of the troubling consequences of climate change\, gentrification\, and political extremism. \nThe exhibition is made possible by The Robert Mapplethorpe Foundation\, Inc.” \nhttps://www.metmuseum.org/exhibitions/floridas-anastasia-samoylova-and-walker-evans
URL:https://jamesmaherphotography.com/event/floridas-anastasia-samoylova-and-walker-evans/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-1.jpeg
END:VEVENT
END:VCALENDAR