James Kalm sneaks into the Gagosian Gallery on the “down-low” to take a brisk tour of this recent group of paintings “Horizontal Tracking Shots” by Mike Kelley. Kelley uses the theatrical device of the “set” or “backdrop” as a coloristic ground on which to place his eccentric imagist paintings. These large planes of uninflected designer colors place the applied paintings into a context with high formalism, creating a complex dialog between the abstract and the eccentric.

James Kalm slides through this exhibition just before closing time to bring viewers a glance at works by one of today’s most influential “bad” painters. Robert Williams has been a presence on the West Coast art scene for decades. He came to my attention while I was still in high school as the artistic director of Ed “Big Daddy” Roth’s studio. There after, he teamed up with the likes of Robert Crumb and S. Clay Wilson as a contributor to the iconic Zap Comix. In 1979 he birthed and became the Godfather of “lowbrow” and, in 1994 founded JUXTAPOZ Magazine. His aesthetic encompasses Hotrod and surf culture the seamy side of Hollywood grudge, punk, hipster, slacker, and scuzz, the epitome of current “bad taste".

James Kalm makes a pre-Halloween visit to bring viewers some tricks and treats from the painterly grab bag of Nicole Eisenman. Combining styles and techniques, Eisenman presents a series of large “Beer Garden” paintings that capture friends and inhabitants of this bohemian milieu. The pictures are rife with art historical references and show Eisenman’s regard for past masters like Picasso, Nolde and Ensor.

From Lindsay Pollock:

After a lengthy search for a new home, the Dia Art Foundation will construct a brand new building in Chelsea at 545 West 22nd Street, a property the foundation already owns.

Dia, a presence in Chelsea since 1986, vacated two Chelsea venues in 2004. The foundation sold 548 West 22nd Street for $38.6 million to an unknown foreign buyer who has since lent the building to the not-for-profit X Initiative.

Dia leased a second property at 545 West 22nd Street to PaceWildenstein. Dia plans to begin construction in 2012, after Pace’s lease has terminated.

The new outpost, Dia:Chelsea, will exhibit commissioned artworks, long-term installations, as well as host public programs.

Dia is revealing little about the design or architect of the new building, other than to say it will be a “utilitarian space designed for the experience of art,” in a statement.

James Kalm treks into Marlborough Chelsea for the second one-man show by the eccentric abstract painter Steven Charles. Three days earlier, your reporter biked to West Harlem for an impromptu studio visit and interview with the artist. Charles discusses his recent investigations of figurative subject matter and accumulative sculpture.

James Kalm makes a walking tour through the recent exhibition of Jack Pierson. Known for his poetic wall constructions in which he uses found letters from commercial roadside signage, this new body of work investigates the formalistic aspect of these shapes without regard for their linguistic meaning. The resulting accumulations resemble totems or snippets of calligraphy. The weathered and faded surfaces evoke a romantic nostalgia yet Pierson’s arrangements remain elegant, humorous and formally satisfying.

James Kalm makes a must see stop for this double bill during the 2009 season opening night in Chelsea. Both Kara Walker and Mark Bradford have gained recognition for their work with paper, cut silhouettes for the former and grand scaled collage for the latter. Walker weaves a narrative derived from the history of slavery and repression, while Bradford imbues his work with an abject elegance capturing the essence and life of contemporary urban neighborhoods. Includes an interview with Kara Walker discussing her views on the painterly direction of some recent work.

James Kalm, despite the daunting task of trying to capture the grand spectacle of 113 openings, muddles on, and brings viewers a select few of the exhibitions on offer. Drawings and recent paintings by Raoul De Keyser and the “Afro Margin” drawings by Chris Ofili begin out tour at David Zwirner. Heading north, we pop in for a glance at the double shows of Kara Walker and Mark Bradford at Sikkema Jenkins & Co. and then slip in at Sonnabend to catch a look at the Photo-Realistic Surrealism of Matthew Weinstein. Trying to beat the clock we get an oh so brief look at Maya Lin’s installation, ”Three Ways of Looking at the Earth” at Pace/Wildenstein. We wrap-up with a viewing of the luminous abstractions of Kylie Heidenheimer, at 532 Thomas Jaeckel Gallery and pause to reflect on the 9/11 Memorial Lights over lower Manhattan.

James Kalm endures sweltering heat and summer ennui to bike to the center of Chelsea for this blockbuster show. The inequality of female representation within museum collections is an almost endemic refrain. While not reconciling this state of affairs, “The Female Gaze” does provide examples of some of today’s most influential and accomplished artists’ work. From stalwarts of Post-War American art like Louise Bourgeois and Joan Mitchell, to the essential Feminist works of Lynda Benglis, to the Post-Modern Conceptual works of Cindy Sherman, Jenny Holzer and Deborah Kass, this exhibition displays prime examples of reflective works inspired by images of women.