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DTSTART;VALUE=DATE:20260708
DTEND;VALUE=DATE:20260808
DTSTAMP:20260715T150456Z
CREATED:20260715T150405Z
LAST-MODIFIED:20260715T150456Z
UID:10000143-1783468800-1786147199@jamesmaherphotography.com
SUMMARY:Manifest and Sublime
DESCRIPTION:Yancey Richardson is pleased to announce Manifest and Sublime\, an exhibition that considers the ever-evolving relationship between photography and the American landscape. To explore how photography has represented the landscape in ways that have changed as dramatically as the country itself\, the exhibition brings together works that span the medium’s history\, from mammoth plate albumen prints made by Carleton Watkins in Yosemite National Park to contemporary daguerreotypes made by Binh Danh in the very same place. Whether surveying the immensity of nature or lamenting the scale of change being inflicted upon it\, the images in Manifest and Sublime return time and again to a landscape no less beautiful for the way it has been remade by human intervention. Featuring work by Ansel Adams\, Robert Adams\, Diane Arbus\, Binh Danh\, Mitch Epstein\, Terry Evans\, David Hilliard\, Sky Hopinka\, William Henry Jackson\, Lisa Kereszi\, An-My Lê\, Richard Misrach\, Andrew Moore\, Victoria Sambunaris\, Tseng Kwong Chi\, Carleton Watkins and Charles Leander Weed. The exhibition will be on view from July 8 through August 7\, 2026. An opening reception will be held on Wednesday\, July 8 from 6–8PM. \nWorks by 19th-century photographers William Henry Jackson and Carleton Watkins show how\, from its very inception\, photography was used to ‘discover’ and document vast swaths of the American landscape. In these now-canonical images\, the landscape is pictured as pristine\, limitless\, sublime and\, ultimately\, available for settlement. Where humans are present in these pictures it is often as bystanders to the great drama before them\, one defined by mountain ranges and prairies\, by waterfalls and dense forests. \nThe landscape that was depicted in the work of Jackson and Watkins was shown to be awe-inspiring\, overwhelming and untameable. Working throughout the middle of the 20th-century\, Ansel Adams took a different approach\, one that removed explicit traces of human presence in order to present the landscape as spiritually moving as it was beautifully described. The sharp focus and long tonal range in his photographs were used to create pictures that Adams hoped would persuade the public and their elected officials to protect the landscape from being degraded and destroyed. Where Ansel Adams sought to make photographs that idealized the landscape while obscuring the real effects of human society\, the work of Robert Adams looked both soberly and with sorrow at how urbanization and rampant construction throughout the American west had spoiled its fields\, plains and prairies. Though often mourning what had been lost\, Robert Adams did so by creating scenes that were full of natural splendour and possibility\, all the better to remind us of what we still stand to lose. \n\n\nWhere Ansel Adams glorified the landscape and Robert Adams struck something of a plaintive tone\, the work of more recent photographers reflects how the American landscape has gone from being understood as an untouched Eden to a space of commodification. Richard Misrach’s Outdoor Dining\, Bonneville Salt Flats (1992) and David Hilliard’s Final Destination (2013) each highlight the process of commercializing nature\, while Sky Hopinka’s What am I but half asleep daydreaming those teachings (2023) and Mitch Epstein’s Mount Rushmore National Monument\, Six Grandfathers\, South Dakota (2018) reflect on how our ideas of the American landscape are built upon legacies of violence and forced removal. What is retained in each of these images—regardless of tone or emphasis—is a belief in the landscape as a site of beauty\, connection and even spiritual awakening\, as expressed by An-My Lê’s Pleiades Cluster in Taurus\, Joshua Tree National Park\, California\, from Way Station (2025). In these photographs nature can still enrich our lives and\, in the case of Terry Evans’ Fent’s Prairie\, near Salina\, Kansas\, May 28 & 29 (2018)\, remind us that the landscape\, and our experience with it\, is inseparable from the images we have made and the ways we have constructed meaning out of them. \nhttps://www.yanceyrichardson.com/exhibitions/manifest-and-sublime
URL:https://jamesmaherphotography.com/event/manifest-and-sublime/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/yancey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260529
DTEND;VALUE=DATE:20260703
DTSTAMP:20260618T135040Z
CREATED:20260618T135040Z
LAST-MODIFIED:20260618T135040Z
UID:10000132-1780012800-1783036799@jamesmaherphotography.com
SUMMARY:Victoria Sambunaris: Fall Line
DESCRIPTION:Yancey Richardson is pleased to present Fall Line\, an exhibition of new work by Victoria Sambunaris that continues her ongoing project of examining changes to the landscape of the American West resulting from human intervention. Featuring seven large-scale photographs taken over several years with a large format\, five-by-seven wooden field camera\, this exhibition investigates the complex topography of waterflows\, their cultural significance and their current precarity\, particularly that of the vast Colorado River system with its seven-state reach and many of its tributaries and drainage systems now diminished or dry. Highly detailed and dramatically composed\, Sambunaris’ topographic portraits convey a deeply layered sense of place and our complex relationship to a post-colonial West. The exhibition will be on view from May 29 through July 2\, 2026. An opening reception will be held on Friday\, May 29 from 6–8PM. \nFall Line builds upon Sambunaris’ 2023 exhibition with the gallery\, High and Dry\, which explored the California desert from the reservoir at Lake Mead in Nevada to the All-American Canal\, a marvel of engineering that delivers water to California’s Imperial Valley. Following the heavy rains of Hurricane Hilary in August of that year\, Sambunaris took a detour to Death Valley’s Badwater Basin\, the lowest point in North America\, which had transformed into an ephemeral lake—a six-mile wide\, one-foot-deep body of water that appears only rarely\, then evaporates. From there\, she shifted emphasis to the Colorado River’s broader geography. Over several trips made between 2023-2025\, covering northeast Colorado down to the Mexican border of California and Arizona\, Sambunaris made images not only of the river but of the monumental terrains shaped by its presence and its absence.  \nCaptivated by the primordial landscapes that now serve as sites for agriculture\, industry and recreation\, and inspired by the intrepid 19th-century photographers whose historic work helped to form an earlier understanding of the region\, Sambunaris has embarked on extended\, solitary road trips each year since 1999\, creating her own unique form of cultural landscape photography\, which details the ever-changing ways humans inhabit the landscape. The awesome perspectives in her photographs—each of which she achieves with a restrained and methodical approach\, traversing the terrain on foot and waiting sometimes hours for the precise light to appear—are troubled by the subtle traces of powerlines\, housing developments\, railways and people themselves\, reduced as they often are to nearly microscopic proportions. Though nature remains sublime in Sambunaris’ work\, it is ever tempered by civilization’s steady march. \nEven where human subjects are absent\, evidence of their activity disrupts otherwise placid views\, highlighting the long-term effects of rapacious development of the land for extractive purposes. In her photographs\, Sambunaris effectively situates competing and oftentimes contradictory concerns of different communities—ranchers\, oil workers\, miners and urban populations who look on from afar—within the deep time scale of geological history. As water depletion continues to impact the Colorado River and in turn shape the broader region\, Sambunaris’ photographs remind us of the urgency of this crisis while also vividly depicting the abiding beauty of the landscape\, showing us what can still be lost.  \n\n\nCopies of Victoria Sambunaris: Transformation of a Landscape\, published by Radius Books in 2024\, will be available at the gallery. Her first book in over ten years\, Transformation of a Landscape shares the nuance and majesty of Sambunaris’ practice in a large-scale book format that features archival documentation of experiences and observations on the road\, such as snapshots\, maps\, road logs\, journals\, geology and history books\, mineral specimens artifacts and an essay by Angie Keefer.  \nVictoria Sambunaris was born in Lancaster\, Pennsylvania in 1964\, and currently lives and works in New York. She received a BA from Mount Vernon College in 1986 and an MFA from Yale University School of Art in 1999. She has held teaching positions at Yale University and Sarah Lawrence College\, and is currently Guest Critic at Yale School of Architecture.  \nHer work has been widely exhibited in museums and galleries throughout the United States including National Gallery of Art\, Washington\, DC; Museum of Modern Art\, New York; San Francisco Museum of Modern Art; Albright-Knox Art Gallery\, Buffalo; Museum of Contemporary Photography\, Chicago; Contemporary Arts Museum Houston; and New Mexico Museum of Art\, Santa Fe. Her work can be seen in numerous collections throughout the United States\, including those of the Albright-Knox Art Gallery\, Buffalo; Lannan Foundation\, Santa Fe; Museum of Fine Arts\, Houston; The Museum of Modern Art\, New York; the National Gallery of Art\, Washington\, DC; San Francisco Museum of Modern Art; and Whitney Museum of American Art\, New York. \nSambunaris has received numerous awards\, including the John Simon Guggenheim Memorial Foundation Fellowship (2021); Charles Red Fellowship in Western American Studies\, Brigham Young University (2015); Aaron Siskind Foundation Individual Photographer’s Fellowship (2010); and the Anonymous Was a Woman Award (2010). A monograph of her work\, Taxonomy of a Landscape: Victoria Sambunaris\, was published by Radius Books in 2013. \nhttps://www.yanceyrichardson.com/exhibitions/victoria-sambunaris6
URL:https://jamesmaherphotography.com/event/victoria-sambunaris-fall-line/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/Yancey.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251030
DTEND;VALUE=DATE:20251221
DTSTAMP:20251029T024614Z
CREATED:20251029T024614Z
LAST-MODIFIED:20251029T024614Z
UID:10000085-1761782400-1766275199@jamesmaherphotography.com
SUMMARY:Guanyu Xu: Resident Aliens
DESCRIPTION:Yancey Richardson is proud to present Resident Aliens\, an exhibition of new work by Guanyu Xu\, the artist’s second solo exhibition with the gallery. With an approach that deftly combines social practice\, installation and photography\, Xu’s work has been defined by its expansive\, multi-disciplinary approach to image-making. Building upon his previous body of work that examined the tension between his own queer identity and the normative prescriptions of his family through photography installations that were then turned into two-dimensional images\, in his new series Xu examines the personal lives and domestic spaces of immigrants navigating the political demands of a changing world. Working with people of different immigration statuses\, Xu explores the relationship between the bureaucratic demands of the state and the subjective expression of the individual. The exhibition will be on view from October 30 through December 20\, 2025. An opening reception will be held on Thursday\, October 30 from 6–8PM. \nBegun in 2019\, shortly before it was interrupted by the Covid-19 pandemic\, and then resumed in its wake and still ongoing to this day\, the works in Resident Aliens have been made inside the homes of immigrants living in cities across the United States and China. In an ever-expanding list that includes Chicago\, East Lansing\, New York\, Hong Kong\, Beijing\, Nanjing and Shanghai\, Xu has sought out participants caught up in the administrative web of citizenship and legal status\, a process requiring them to re-establish their identities through the careful selection of information\, images and documentation. \nTo create his large-scale color photographs\, Xu first meets with the participants in their homes to learn about their lives\, to understand their respective stories and photograph their spaces. He eventually asks them to select meaningful images from their personal photo albums that he then prints. On a subsequent visit\, Xu constructs a temporary installation inside each participant’s home\, using both his own images and theirs to create a dense and layered arrangement before photographing it to produce a collage-like final image. Through recontextualizing archival photographs and merging multiple perspectives together\, Xu’s images not only trouble the distinction between authorship and reproduction\, between what is intimate and what is social\, but they also speak to the fragmented nature of the immigrant experience\, one being made increasingly more fraught and precarious with each passing day. \nThough intellectually rigorous and formally complex\, the images in Resident Aliens are also visually rich and deeply engaging. Snapshots of sunsets and cityscapes live alongside revealing portraits and fleeting observations\, all with their own inherent meaning that Xu makes newly contingent on the images he combines them with. The inseparability of personal significance from larger structures of meaning reflects the challenging and oftentimes intrusive nature of the state system itself\, which requires visa applicants to prove their economic value and social importance and even\, if in a relationship\, to prove their bond of love as well. By asking his subjects to willingly select images and provide materials they believe capture their identity or express the substance of their lives\, Xu underscores the impossibility of such a process ever succeeding in the first place. \n\n\nThe movement between the personal and the political\, a constant source of tension in Xu’s work\, is intensified in Resident Aliens\, as the images demonstrate how both categories are informed by and intertwined with another. Within the seemingly protected space of home\, Xu reveals what must be protected and what can still be taken away. \nGuanyu Xu (b.1993 Beijing) is an artist currently based in Chicago and Beijing. Influenced by the production of hegemonic ideology in American visual culture and his upbringing in Beijing\, his practice extends from examining the production of power in image culture to the question of personal freedom and its relationship to political regimes. Xu negotiates this from his perspective as a Chinese gay man and an immigrant in the US. In his work\, he migrates between mediums like photography\, new media\, and installation. These movements operate similarly to his displaced and fractured identity. In Xu’s art practice\, he strives to understand the politics between the U.S. and China\, on both personal and transnational levels. Xu proposes a transnational position for viewers to examine and negotiate the interconnected oppressions in this contemporary moment of supposed freedom. \nHe is the recipient of the Chicago DCASE Artist Grant\, CENTER Development Grant\, Hyéres International Festival Prize\, PHOTOFAIRS Shanghai Exposure Award\, Philadelphia Photo Arts Center Annual Competition\, and Kodak Film Photo Award. He has received artist residencies including ACRE (Steuben\, WI)\, Light Work (Syracuse\, NY)\, Latitude (Chicago\, IL)\, Pioneer Works (New York\, NY)\, and Swatch Art Peace Hotel (Shanghai\, China). \nHis works have been exhibited and screened internationally including the Harvard Art Museums\, Cambridge; International Center of Photography\, New York; Museum of Contemporary Art\, Chicago; New Orleans Museum of Art\, New Orleans; Museum of Fine Arts\, Houston; San Francisco Museum of Modern Art\, San Francisco; UCCA Center for Contemporary Art\, Beijing; Fotomuseum Winterthur\, Switzerland; 36th Kasseler Dokfest\, Germany\, and others. His work can be found in public collections including San Francisco Museum of Modern Art\, the Museum of Fine Arts\, Houston\, Cantor Arts Center at Stanford University\, Madison Museum of Contemporary Art\, Harvard Art Museums\, Museum of Contemporary Photography Chicago\, New Orleans Museum of Art\, among others. His works have been featured in numerous publications including The New York Times\, Phaidon\, Thames & Hudson\, ArtAsiaPacific\, The New Yorker\, Harper’s Magazine\, Dazed\, and China Photographic Publishing House. \nhttps://www.yanceyrichardson.com/exhibitions/guanyu-xu2
URL:https://jamesmaherphotography.com/event/guanyu-xu-resident-aliens/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Yancy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251030
DTEND;VALUE=DATE:20251221
DTSTAMP:20251029T024353Z
CREATED:20251029T024353Z
LAST-MODIFIED:20251029T024353Z
UID:10000084-1761782400-1766275199@jamesmaherphotography.com
SUMMARY:Larry Sultan: Homeland
DESCRIPTION:Yancey Richardson is proud to present Homeland\, an exhibition featuring photographs from Larry Sultan’s series of the same name and the third exhibition of his work with the gallery. In his expansive photographs of Latino day laborers set against the backdrop of a suburban California landscape\, Sultan explores the liminal spaces between actions\, the moments that exist as time passes. Though he borrows from the tradition of landscape painting\, with its presumption of order through perspective\, Sultan’s photographs emphasize the indeterminate and the ambiguous instead\, revealing the sense of possibility that remains embedded in the act of waiting. The exhibition will be on view in the project gallery from October 30 through December 20\, 2025. An opening reception will be held on Thursday\, October 30 from 6–8PM. \nOver the course of a two year period Sultan drove to lumber yards and hardware stores in the Bay Area and Simi Valley\, California\, where every day hundreds of men waited for temporary employment. Rather than hire them as laborers\, Sultan employed them as actors\, working with them to choreograph their movements in landscape on the outskirts of suburbia\, rehearsing and doing take after take\, creating picture after picture. Just as they originally occupied the marginal and transitional zones within the landscape—those that remain overlooked and passed over—Sultan cast these men in similar roles for Homeland\, asking them to carefully pose and sit\, to cast their gaze outward from the picture frame. Instead of depicting dynamic motion or dramatic action\, Sultan created meticulous tableaux that express the interrelated experiences of looking for\, leaving and coming home. The notes of longing and melancholy that are present in these photographs are counterbalanced by one of emergent possibility\, where the familiarity of the banal can give way to the unforeseen and unexpected. \nIt was in the act of exploring truths in storytelling\, notions of identity and the influence of home that Sultan returned to time and again in his work\, regardless of subject matter or setting. The lasting imprint of his childhood and the spaces that defined it—the empty fields behind strip malls and the borderlands of the LA river that ran behind his home in the San Fernando Valley—were areas that represented a small and diminishing stretch of refuge that existed just outside the boundaries of private property. By investigating these spaces in Homeland\, Sultan sought to complicate the stereotype of what suburbia was and can be with pictures suff used with anticipation and a quiet reverence for the ordinary. \n\n\nLarry Sultan grew up in California’s San Fernando Valley\, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s pioneering book and exhibition Pictures From Home (1992) was a decade long project that features his own mother and father as its primary subjects\, exploring photography’s role in creating familial mythologies. Using this same suburban setting\, his book\, The Valley (2004) examined the adult film industry and the area’s middle-class tract homes that serve as pornographic film sets. Katherine Avenue (2010)\, the exhibition and book\, explored Sultan’s three main series\, Pictures From Home\, The Valley\, and Homeland alongside each other to further examine how Sultan’s images negotiate between reality and fantasy\, domesticity and desire\, as the mundane qualities of the domestic surroundings become loaded cultural symbols. \nLarry Sultan’s work has been exhibited and published widely and is included in the collections of the Los Angeles County Museum of Art\, the Art Institute of Chicago\, the Museum of Modern Art\, the Whitney Museum of American Art\, the Solomon Guggenheim Museum\, the Tate Modern\, the National Gallery\, London\, the Stedelijk Museum\, Musée de l’Elysée\, Centre Pompidou\, the National Gallery of Art\, DC\, and the San Francisco Museum of Modern Art\, where he was also recognized with the Bay Area Treasure Award in 2005. Sultan served as a Distinguished Professor of Photography at California College of the Arts in San Francisco. Born in Brooklyn\, New York in 1946\, Larry Sultan passed away at his home in Greenbrae\, California in 2009. \nhttps://www.yanceyrichardson.com/exhibitions/larry-sultan3
URL:https://jamesmaherphotography.com/event/larry-sultan-homeland/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Yancy2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250716
DTEND;VALUE=DATE:20250816
DTSTAMP:20250717T022021Z
CREATED:20250717T021902Z
LAST-MODIFIED:20250717T022021Z
UID:10000059-1752624000-1755302399@jamesmaherphotography.com
SUMMARY:Celebrating 30 Years
DESCRIPTION:Yancey Richardson is proud to celebrate our 30 year anniversary with a milestone exhibition bringing together works by all of the gallery’s artists and estates. Titled Celebrating 30 Years and co-curated by the artists themselves\, the exhibition features works that speak across decades and through varying styles and technical approaches. The show highlights the breadth and diversity of the gallery’s roster and its steadfast commitment to supporting artists working in photography and lens-based media. \nCelebrating three decades as a pioneering exhibition space\, one where the public has witnessed and engaged with the continued evolution of photography and artistic expression more broadly\, the gallery has invited its artists to select work by their peers with whom they share creative affinities. The work on display reveals the gallery’s deep engagement with photography as both a historical and contemporary medium\, with work made using classic darkroom techniques alongside multidisciplinary and experimental processes. \nCelebrating 30 Years includes work by Guanyu Xu selected by David Alekhuogie\, David Alekhuogie selected by Mickalene Thomas\, Mickalene Thomas selected by David Alekhuogie\, Olivo Barbieri selected by Lynn Saville\, Jared Bark selected by Rachel Perry\, Omar Barquet selected by Mary Lum\, Ori Gersht selected by Terry Evans\, Terry Evans selected by Victoria Sambunaris\, Mary Ellen Bartley selected by Ori Gersht\, Lisa Kereszi selected by Sharon Core\, Sharon Core selected by Hellen van Meene\, Mitch Epstein selected by Lisa Kereszi\, John Divola selected by Mitch Epstein\, Tania Franco Klein selected by Laura Letinsky\, Carolyn Drake selected by Tania Franco Klein\, Sandi Haber Fifi eld selected by Bryan Graf\, Bryan Graf selected by Yamamoto Masao\, Jitka Hanzlová selected by Laura Letinsky\, Anthony Hernandez selected by Olivo Barbieri\, David Hilliard selected by Kahn & Selesnick\, Laura Letinsky selected by Carolyn Drake\, Matt Lipps selected by Guanyu Xu\, Mary Lum selected by Omar Barquet\, Esko Mannikko selected by Sharon Core\, Andrew Moore selected by David Hilliard\, Zanele Muholi selected by John Divola\, Rachel Perry selected by Sandi Haber Fifi eld\, Victoria Sambunaris selected by Anthony Hernandez\, Lynn Saville selected by Andrew Moore\, Mark Steinmetz selected by Victoria Sambunaris\, Kahn & Selesnick selected by Jared Bark\, Larry Sultan selected by Anthony Hernandez\, Tseng Kwong Chi selected by Zanele Muholi\, Hellen van Meene selected by Jitka Hanzlová\, Yamamoto Masao selected by Mary Ellen Bartley\, Pello Irazu selected by Jared Bark and Lynn Geesaman and Sebastião Salgado selected by Yancey Richardson. \nOver the past thirty years and nearly 290 exhibitions\, Yancey Richardson has helped foster the careers of some of the most critically-acclaimed artists working today. The gallery opened in 1995 at 560 Broadway in SoHo with an exhibition by Sebastião Salgado. In 2000 the gallery relocated to 535 West 22nd Street in Chelsea\, then a burgeoning arts neighborhood. Over the next 13 years\, the gallery presented historically significant exhibitions with artists such as Lewis Baltz\, William Eggleston and August Sander\, along with exhibitions by artists such as Mitch Epstein\, Zanele Muholi and Mickalene Thomas\, who have been with the gallery ever since. In 2013 the gallery moved to 525 West 22nd Street\, where it remains to this day. Since moving\, the gallery has continued to grow and welcome new artists and estates to its roster\, such as David Alekhougie\, Omar Barquet\, John Divola\, Anthony Hernandez\, Tania Franco Klein\, Larry Sultan and Tseng Kwong Chi. \n\n\nIn addition to maintaining long-term representation of a wide-ranging and international group of artists\, such as Olivo Barbieri\, Ori Gersht\, Jitka Hanzlová\, Sebastião Salgado\, Hellen van Meene and Yamamoto Masao\, the gallery has also mounted New York debut exhibitions for many artists who have gone on to achieve critical acclaim\, such as David Alekhuogie\, Carolyn Drake\, Paul Mpagi Sepuya and Guanyu Xu. Understanding photography as always changing and in flux\, the gallery has consistently welcomed artists to its roster who engage with the medium in an expanded way\, as both a technical process and a historically-informed mode of perception. \nAlongside its support of emerging\, mid-career and historically significant artists through exhibitions\, the gallery has consistently supported the publication of monographs and photobooks as an essential expression of photography. Now representing over 40 artists and estates\, Yancey Richardson continues to work tirelessly alongside museums and cultural institutions around the world to ensure that their artists reach the widest possible audience and that their achievements are promoted and their legacies safeguarded. \nYancey Richardson stated\, “Since the day we opened our doors in 1995\, the gallery has remained committed to supporting and embracing photography across the widest possible spectrum\, from modern masters to new and contemporary expressions. Though both the medium itself and society’s understanding of it has changed dramatically over the past 30 years\, I have endeavored to keep the gallery as a space where those changes—where history itself—can be seen\, felt and interacted with. To the extent that this has been achieved is due in no small part to the countless individuals who have worked with me over the years. Above all else\, I wish to thank the artists who have entrusted us with their legacies and whose work continues to challenge us to see and think in diff erent ways\, all while off ering a constant reminder of the power of art to help us understand the times in which we live.” \nhttps://www.yanceyrichardson.com/exhibitions/celebrating-30-years
URL:https://jamesmaherphotography.com/event/celebrating-30-years/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/0915deee9d9751b5f01412d778616e93.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250529
DTEND;VALUE=DATE:20250712
DTSTAMP:20250717T022201Z
CREATED:20250613T205635Z
LAST-MODIFIED:20250717T022201Z
UID:10000051-1748476800-1752278399@jamesmaherphotography.com
SUMMARY:Maria Antelman: Conjurer
DESCRIPTION:Yancey Richardson is proud to present Conjurer\, an exhibition by Greek artist Maria Antelman\, her first with the gallery. Bringing together work made over the past five years\, the exhibition highlights Antelman’s unique approach to photography in which her lyrical and experimental approach to imagery and montage is combined with a sculptural sensibility and attention to the photograph as an object in three dimensions. Through her merging and splicing together of images—those from the body and from nature—Antelman endeavors to re-mystify our understanding of the natural world. On Saturday\, May 31\, the gallery will host a conversation between Antelman\, Jenny Calivas and independent curator Katerina Stathopoulou. \nOver the past twenty-five years Antelman has worked across and at the intersection of several mediums\, including sculpture\, video and photography\, to explore not only the rapid development of technology and the near total entanglement of it with our personal lives\, but also how these same technologies reshape our experience of the world. Rather than see it as merely being a tool or appendage\, Antelman understands technology as having the capacity to create a new reality around us which\, when considered alongside the ever-increasing capacity of science to explain how nature functions\, disrupts our ability to connect with and relate to the natural world in more spiritual\, even magical\, ways.  \nConjurer features Antelman’s photographic works that show the intertwining of humankind and nature\, though in ways that defy logical or rational explanation. Working predominantly with 35mm film\, her works are often composites of multiple images\, with fragments of the body—a limb\, a nose\, a pair of eyes or set of hands—set alongside or even interrupted by an image of a natural form\, such as a tree trunk or a stone. Antelman constructs her works to communicate metaphoric meaning\, first through the image and then the object as a whole. More than simply providing a container for the images\, she treats the frame as a form in its own right and explores its relationship to the space of the image. Instead of functioning as a passive or neutral component\, she instead uses the frame to dynamically shape what the images show. In some cases\, the frame even provides a graphic quality as well\, as their rounded and curved shapes evoke the organic forms found in nature. \n\n\nThinking of these juxtapositions as a kind of montage\, Antelman is able to create novel and unexpected combinations\, with some that reflect upon how we instrumentalize nature\, while others show how we can still be reunited with it. Just as often\, she merges these different worlds together into a single visual field\, resulting in images that recall the bizarre\, subconscious spaces of Surrealism or the photomontages of early modern photography. Though they remain beguiling for their novelty and invention\, these works also consistently reveal moments of contemplative and serene beauty\, moments which are philosophical in their construction yet poetic in tone. \nAntelman both deconstructs the body and then reassembles it\, not just as a way of imagining a deeper connection with nature\, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism\, in which the steady advance of technology is uniformly celebrated\, Antelman expresses an atavistic position instead\, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well. \nBorn 1971 in Athens\, Greece\, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University\, Madrid. Her work has exhibited internationally\, including at the Bemis Center of Contemporary Art\, Omaha\, NE; Pioneer Works\, New York; Macedonian Museum of Contemporary Art\, Thessaloniki; Visual Arts Center at the University of Texas\, Austin; Botanical Garden I&A Diomidos\, Athens; National Museum of Contemporary Art\, Athens; Onassis Cultural Centre\, Athens; Benaki Museum\, Athens; Centro Nacional de Arte Contemporaneo\, Cerillos\, Chile and Yerba Buena Center for the Arts\, San Francisco. Antelman’s work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art\, New York. She has been the recipient of grants from the Onassis Foundation USA\, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation\, Athens. Antelman has taken part in artist residences including Silver Art Projects\, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens. \nhttps://www.yanceyrichardson.com/exhibitions/maria-antelman
URL:https://jamesmaherphotography.com/event/maria-antelman-conjurer/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
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DTSTART;VALUE=DATE:20250428
DTEND;VALUE=DATE:20250524
DTSTAMP:20250428T223243Z
CREATED:20250428T223243Z
LAST-MODIFIED:20250428T223243Z
UID:10000033-1745798400-1748044799@jamesmaherphotography.com
SUMMARY:Zanele Muholi: Sawubona
DESCRIPTION:Yancey Richardson is proud to present Sawubona\, an exhibition bringing together work from five different series made between 2002–2013 by South African artist and visual activist Zanele Muholi. Their fifth exhibition with the gallery\, Sawubona reveals both the historical depth and visual complexity of Muholi’s overarching project of empowering the Black LGBTQIA+ community in South Africa through a collaborative process of representation. Sawubona will also be the first gallery exhibition outside of Africa to feature their early work. The exhibition will be on view from April 17 through May 23\, 2025. An opening reception will be held on Thursday\, April 17 from 6–8PM. \nFor more than twenty years Muholi has studied the multifarious and ever-evolving nature of Black\, queer life in South Africa\, specifically through a group of projects centered around forms of portraiture both intimate and disarming\, personally descriptive and socially incisive. Though widely-known and celebrated for their ongoing series of self-portraiture titled Somnyama Ngonyama (“Hail\, the Dark Lioness”)\, which they began in 2012\, Muholi had by that point either completed or begun several other bodies of work that addressed the discrete circumstances and challenges—including for basic civil rights and for visibility and recognition free from stereotypes—being faced by different members of the queer community in South Africa. These early projects\, including Only Half the Picture (2002–2006)\, Being (2006)\, Beulahs (2006)\, Faces and Phases (2006–ongoing) and Miss Lesbian (2009)\, each seek to empower Muholi’s participants and by extension the queer community at large\, with images defined by affirmation\, dignity and joy rather than struggle\, tragedy or trauma.  \nMuholi’s first project\, Only Half the Picture\, grew out of their work with the Forum for the Empowerment of Women\, which works with survivors of hate crimes living across South Africa and its townships and which Muholi co-founded in 2002. Rather than emphasize the visceral details that would attest to the suffering endured by each participant (a term Muholi uses in place of “subject”)\, these photographs instead show fragments of bodies at rest or in repose and faces that are contemplative rather than vindictive. Muholi often isolates body parts and garments as well\, creating pictures that complicate whatever normative assumptions about gender and identity we may hold. \nThe challenge to stereotypical and queerphobic representations was further developed by Muholi with their series’ Being and Beulahs. For the former\, Muholi made portraits of queer couples in settings and circumstances at times intimate and domestic\, in others casual and public. Each photograph demonstrates the bond of love between two people regardless of personal difference or public challenge. If the Being photographs were largely situated in private spaces\, those Muholi made for the series Beulahs were just as often situated outdoors and in public spaces. In South Africa the term “beulah” refers to a gay man that the queer community deems beautiful. The “beulahs” that Muholi photographed demonstrate how malleable masculinity can be—their self-presentation is their own as opposed to being socially prescribed. \n\n\nIn their Miss Lesbian series Muholi used the conventions of pageantry as the aesthetic and conceptual framework to critique social definitions of beauty and success. These self-portraits take the staging and presentation used by beauty pageants as a pretext for exploring how they have historically expressed gender as a social construct and how that has defined what “success” or “acceptance” so often looks like. \nMuholi’s project Faces and Phases is a vast collective portrait that both commemorates and archives the lives of Black LGBTQIA+ people in South Africa. Many of these portraits are the result of long and sustained relationships and collaboration\, as Muholi often returns to photograph the same person over time. In the title\, “Faces” refers to the person being photographed\, while “Phases” can signify the transition from one stage of sexuality or gender expression to another\, while also marking the changes to the participants’ daily lives. As with so much of their work\, Faces and Phases acts as a living archive that visualizes Muholi’s belief that “we express our gendered\, racialized and classed selves in rich and diverse ways.” \nZanele Muholi was born in Umlazi\, South Africa and currently lives and works in Cape Town\, South Africa. They studied Advanced Photography at the Market Photo Workshop in Newtown\, Johannesburg and in 2009 completed an MFA: Documentary Media at Ryerson University\, Toronto. Their work has been exhibited at the 2020 Biennale of Sydney; the 58th International Venice Biennale; Documenta 13; the South African Pavilion at the 55th Venice Biennale and the 29th São Paulo Biennale. They are currently the subject of a mid-career survey at the Instituto Moreira Salles\, Sao Paolo. In 2024 they were the subject of a retrospective exhibition at the San Francisco Museum of Modern Art and in 2020\, the Tate Modern mounted a major mid-career survey which traveled to Martin Gropius Bau\, Berlin; Maison Européenne de la Photographie\, Paris and Bildmuseet\, Sweden.  \nOther notable solo exhibitions have taken place at the Tate Modern\, London; Sprengel Museum\, Hannover; Stedelijk Museum\, Amsterdam; Kulturhistorek Museum\, Oslo; Schwules Museum\, Berlin and Brooklyn Museum\, New York. They received an Infinity Award from the International Center of Photography in 2016\, a Chevalier de l’Ordre des Arts et des Lettres in 2016\, an Honorary Fellowship of the Royal Photographic Society in 2018\, and the Spectrum International Prize for Photography in 2021. Their work is included in the collections of the Boston Museum of Fine Arts; the Brooklyn Museum; the High Museum of Art; the Carnegie Museum of Art; the Guggenheim Museum; the Museum of Modern Art\, New York; the San Francisco Museum of Modern Art; the Tate Modern\, London; the Victoria and Albert Museum\, London; Centre Pompidou\, Paris; the Art Institute of Chicago and the Museum of Fine Arts\, Houston\, among many others. \nhttps://www.yanceyrichardson.com/exhibitions/zanele-muholi5
URL:https://jamesmaherphotography.com/event/zanele-muholi-sawubona/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/zanele-muholi.jpg
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