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 mingling 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.

James Kalm joins throngs of fans, admirers and groupies to elbow his way through “The End of an Era” the latest offering from Damien Hirst. With his worldwide fame peaking from the recent auction of his work, which coincided with the global economic crisis, in “End of an Era" Hirst plays out his opulent critique of materialism. Featuring a pickled bull’s head, a gold plated case with nearly 30,000 manufactured diamonds and photorealistic paintings of renowned gems, this show displays a wide variety of medium and approaches used by the artist.

James Kalm pedals up to the opening of Inka Essenhigh’s most recent selection of paintings, “The Old New Age”. In these works the artist has concentrated on developing a sharp focus depiction of the natural landscape that surrounds her summer studio in Maine. Mingling a fantastic Surrealism with the romantic sublime, forest maddens and spirits in the mist appear to observant viewers. Includes an interview with Inka Essenhigh.

James Kalm immerses viewers in the colored space of Dan Flavin’s Series and Progressions at David Zwirner. These works originally designed in 1968, represent a breakthrough both in their use of “ready made” commercially available neon light fixtures and their “Post-Minimal” radiance of sensual colored light. From the austere to the over the top we next trip into the Susan Inglett Gallery for the Bruce High Quality Foundation University, a learning experience in the absurd. Bruce High Quality is a loose confederation of artists who have recently achieved a high level of visibility with their goof ball antics and pathetic products that mask their wry version of “institutional critique”.

James Kalm slips into Williamsburg under cover of night to bring viewers a look and an extended interview with one of Chicago’s preeminent contemporary artists, Tony Fitzpatrick. Obsessively worked and fabricated from the cast off refuge of down home culture, Fitzpatrick weaves a narrative of tragic heroics recording a poetic portrait of one of the last of the great Native American leaders Crazy Horse. With simple scraps and elementary colors these collage paintings transcend their small size to express a sense of monumental mourning. Includes an extended interview with Tony Fitzpatrick.

James Kalm taps on the window and convinces Manager Rob Magness to allow viewers a private preview of this exceptional exhibition. Grown and Sewn is a collaborative arts and crafts space that brings works of art together with a new line of well crafted American made clothing. Purvis Young, from Miami’s tough Overtown neighborhood, is a mythical figure among painters and aficionados of “Outsider Art”. James Kalm brings fans this exhibition which features a cross section of Young’s paintings, drawings and book works. Includes interviews with Rob Magness and Skot Foreman.

James Kalm begins a new year with a visit to the studio of Julian Jackson. As a longtime presence on the New York scene, particularly in Brooklyn, Jackson has spent considerable effort promoting and advocating on behalf of other artists and the local community. He along with wife, Rene Lynch, have carved out a unique place with their Metaphor Gallery in the Smith-lantic district in Downtown Brooklyn. In addition to his commitment to art advocacy Jackson continues to practice a highly evolved mode of atmospheric abstraction. Relating to the “Color-field” painters of the mid sixties Jackson extendes the investigation of subtle shifts of value, tone and the concomitant emotional responses evoked by this employment of pure color.

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.