Slow motion video showing Officer Anthony Bologna (a.k.a. Tony Baloney) spraying mace into the eyes of two "kettled" (corralled) protesters.
Here's a close up of his badge:
On the evening of June 20, 2010 in conjunction with the exhibition "Dead Flowers," a group show based on the work of actor/director Timothy Carey, a selection of performance pieces were presented at Participant Inc. "Veil" by Johanna Constantine is a mysteriously disturbing yet poetic "dance" alluding to flight and perhaps the rebirth of the soul. Genesis Breyer P-Orridge is well known for his/her work with the proto Punk band Throbbing Gristle. In the 1990s, with his second wife, Lady Jaye, P-Orridge began an ongoing experiment in body modification aimed at creating one pandrogynous being named "Genesis Breyer P-Orridge". In this performance P-Orridge is accompanied by the recorded voice of the late Lady Jaye. Marti Domination & Beaut riff on classic burlesque, using the novelty item known as a whoopee cushion to great effect.
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.
James Kalm pays a heartfelt tribute to one of the legendary artists of the East Village. From 1978 to 1987, a sleazy rundown neighborhood on the butt of Downtown Manhattan became the most exciting and controversial battleground in the art world struggles. A cadre of whacked-out disenfranchised artists, using their own wits and energy, grabbed the international spotlight and for a brief skuzzy moment, changed the course of history.
Martin Wong was an essential character within that milieu and it is fitting that on the tenth anniversary of his death this retrospective of his work is presented.
James Kalm braves fall showers and trains his way to the Bowery’s New Museum for the first major museum exhibition by Urs Fischer. Lionized as one of contemporary art’s most distinctive talents, Fischer earned the New York spotlight in 2007 by cutting a hole in the floor of Gavin Brown’s Enterprise and digging out tons of dirt leaving a gaping crater for visitors to climb into and explore. As an astute observer of spatial perception, and a master of digital technology with a mischievous sense of humor, the artist uses the most advanced commercial printing techniques to tweak space and challenge “reality”.
James Kalm returns for the 2009 season opener on the LES (Lower East Side). This sampler features run-throughs of five openings that give viewers an idea of the tastes and trends we likely to see more of as the year unwinds. Beginning with the zippy tape stripes of Franklin Evans at Sue Scott, we dash up Freeman Alley to take a peek at the work of one name wonder Carter at Salon 94. From there we visit Khalif Kelly’s “Metamorphosis” at Thierry Goldberg Projects, and take a glance at the video installation of Adam Shecter at Eleven Rivington. Finally it’s up to East 2nd Street to check out the most recent offering at Museum 52.
James Kalm drifts into Soho to kick off the new season with a pair of highly anticipated exhibitions. Tauba Auerbach’s “HERE AND NOW/AND NOWHERE” presents five bodies of work that are all related to the duality of space, the here, and, time, the now. Illusionistic paintings are contrasted with “Auerglass” a custom made pipe organ. Kehinde Wiley explores the photographic medium with “Black Light” a series of digitally manipulated photos that continues his studies of young black males. Using various lighting sources, decorative backgrounds, gestures and poses that relate to medieval religious iconography, Wiley creates images that balance precariously between “Boys in the Hood” and “GQ Magazine”.
I didn’t know Dash Snow. Like a lot of the New York art world, I became acquainted with him after the feature article that appeared in New York Magazine in 2007. Due to the hyper-competitive nature of so many here, Dash became the butt of nearly every young artist on the make, less a person than a target, a symbol of all the reasons the scene sucks. Now, with his passing, we’ll see what the long term value of his art really is. After this visit to the memorial, the thing that is most striking and sad is how young he was, just a kid. How will his family and young child carry on without him? Sometimes the life of an artist is brutal. Let's try to take better care of each other.