James Kalm Report Update from NY
© Loren Munk aka James Kalm - The Man on the Bike
A James Kalm Report Update
As the lazy, hazy, crazy days of New York summer take hold, James Kalm is out in the streets and galleries bringing viewers continued views of the latest happenings. Due to the overwhelming success and resultant demands for more high quality content, the James Kalm report has upgraded to HD video, and expanded its network to include a new channel the James Kalm 'Rough Cut' at: www.youtube.com/user/jameskalmroughcut
These 'roughcuts' will be shorter and feature unedited footage brought to you 'raw' from the scene. So, sit back, crank up the air conditioning and enjoy.
Damien Hirst: End of End of an Era at GAGOSIAN
James Kalm slips into the Madison Avenue branch of the Gagosian Gallery to bring viewers unauthorized video of one of the seasons most controversial exhibitions. 'End of an Era' may be a cynical ploy by Hirst to vaccinate himself from complaints of his promotion of overly conspicuous consumption. Whether a preserved bull's head, or a gold plated cabinet with nearly 30,000 manufactured diamonds, the presentation of ostentation is the apparent point of Hirst's latest body of work.
Scott Richter New Work at ELIZABETH HARRIS
James Kalm is still reeling from the crash and burn of his old computer. This video marks the beginning of new level of half-assed production in HD.
Scott Richter is an artist who has been pushing the limits and ideas of paint and painting for decades. After investigating the process of painting and the mingling of it with elements of sculpture, this show displays a returning to the classic rectangle hung on a wall. Richter's canvases are luscious, physical and nuanced, with an undeniable presence that is satisfyingly memorable. Includes an interview with Scott Richter.
The Whitney Biennial 2010 Part I
James Kalm returns to the scene of the crime. After being removed from the press list for the 2008 Biennial, and the subsequent getting busted by security and recording of that show on the down low, it seems the Whitney has decided to include the 'Kalm Report' as a reputable member of the press for 2010's edition. This exhibition, curated by Francesco Bonami and Gary Carrion-Murayari, is touted as a national cross section of the most important and historical art produced during the past two years. Part I features the introduction by Adam Weinberg, and a walk through tour of the fourth floor.
The Whitney Biennial 2010 Part II
James Kalm continues his meanderings through this most recent iteration of the Whitney Biennial. In this segment we concentrate on the third floor which features the majority of experimental film and video works. Includes glimpses of works by Josephine Meckseper, Rashaad Newsome, Erika Vogt et al.
The Whitney Biennial 2010 Part III
James Kalm wraps up this extended report from the 2010 Whitney Biennial with a stroll through the second floor, lobby galleries and a glimpse out into the sculpture garden installation designed by Theaster Gates. Includes views of work by: Robert Grosvenor, Jessica Jackson Hutchins, Hannah Greely, Nina Berman, Dawn Clements et al.
First Annual European Pop Surrealism Award
James Kalm leaves his bike back in Brooklyn and jets to Munich Germany to help announce the first annual European Pop Surrealism Award. As one of Europe's homes to advanced art and Graffiti, Munich is a natural choice for some visionary galllerists seeking to establish a worldwide hub for this art phenomenon. Whether your interests are Graffiti, Street Art, Urban Art, Lowbrow, or Pop Surrealism, you will now be able to participate in an online community, compete for grants, participate in forums, and vote on members contributions. Includes interviews with Lothar Keuler and David Galloway from Curatorial Partners
Jules de Balincourt Premonitions at DEITCH
James Kalm is back in Soho at the Deitch Project for what might be the last exhibition in this location. As a longtime fan, it's a pleasure to bring viewers a bit of what is, to this point, the most ambitious painting show from this influential young artist. Combining odd scenes depicting a strange tropical vacation resort or ribbon strewn and pixilated versions of near abstract figures, these paintings are a mélange of techniques with a rich and sensitive palette, and intriguing textual headings . De Balincourt has been included in several noteworthy recent exhibitions including shows at PS1 and the Saatchi Gallery.
Wilhelm Sasnal at ANTON KERN
James Kalm is curious to see how the paintings of Wilhelm Sasnal stack up to the international hype attendant to this painter. In this brief visit, viewers can judge for themselves, as we see examples of Sasnal's wane landscapes, limp faceless figure studies and slight text works that also incorporate references to his use of pigment and other substances to create a material and textural presence. Sasnal was featured in a cover story in ARTFORUM, has received strong support from Charles Saatchi and was also featured in 'Cave Painting II' curated by Bob Nickas.
Amy Sillman, Anna Sew Hoy at SIKKEMA JENKINS & CO.
James Kalm wheels into Chelsea to sample the exhibitions of Amy Sillman and Anna Sew Hoy. If anyone was to be put forth as an example of where the current state of the 'New York School' is, Amy Sillman qualifies. Her luscious and physical use of paint, strong drawing, strange figurative fragments and an adherence to the legacy of Ab-Ex have given her a local cult-like following as well as international recognition. Anne Sew Hoy mixes masterly craft skills with an appreciation of the suburban abject, rendered in the ubiquitous materials of denim, ceramics and shades.
Shepard Fairey May Day at DEITCH PROJECTS
James Kalm attempts to visit Shepard Fairey's May Day exhibition, the final show at this location of the Deitch Project. However, the crowds are too thick to get in the door, so your reporter documents some of the goings-on outside the gallery including a brief chat with Mark Kostabi, and the arrival of a motorcycle gang. A few days later, Kalm returns to tour the exhibition at an opportune time, without the mobs, for a better viewing of the art.