“Calder Kamin crafts cute animals — and eco messages — from plastic bags” Jeanne Claire van Ryzin Austin American Statesman
“Medium Sans Tedium” Tobin Levy Tribeza
“Reimagining the Environment—Art with a Purpose” Road to Zero Waste Austin Resource Recovery
“Local artist creates immersive recycled worlds” David Spector Daily Texan
“Arts Listings Recommended” Austin Chronicle
“Radio interview for The Austin Artists Show” KOOP radio
“Animals, Art, Activism: The Plastic Menegrie of Calder Kamin” Jennifer Wagner-Lawlor Plastic Pollution Coalition
CBS Evening News covers ‘State of the Art’
Interview with Crystal Bridges Museum Copy Editor Linda DeBerry about installation for State of the Art
Interview with Ron McDonough of KCPW the Rundown about The Art Truck Exhibition at Utah MOCA.
Two works published in Lark Books 500 Prints in Clay.
Preview article for Half Wild at the Steven Square Center for the Arts in the Minneapolis Voice by Jessica Armbruster.
Impact Proof was selected by the Pitch as one of their favorite images from 2012 in their December 27-January 2, 2013 edition.
An article about Impact Proof featured in the Heartland Sierran Sierra Club Newsletter.
Austin American Statesman review by Jeanne Claire Van Ryzin
Recommendation from the Austin Chronicle for grayDuck Gallery exhibit
Impact Proof at Window Unit an essay by Theresa Bembnister.
Recommendation from the Austin Chronicle for Co-Lab Solo exhibit and workshop
Solo exhibition at Co-Lab posting on AbodeAirStream
Calder Kamin makes sculptures of puppies. Soft, pink puppy tummies, in fact. This may sound like a Hallmark endeavor yet it is anything but, even though Kamin’s ceramics betray astonishing levels of tenderness toward their truly adorable subject. How can this be? Imagine the softest, prettiest little pup, with silky gray fur, tiny black nails, and wee teats on her fleshy belly. This is how Kamin has sculpted the creatures, deftly applying each shock of fur, meticulously painting each nail. Now lay the pup on her back, legs all sweetly splayed, and sever her upper half. This is also how Kamin has sculpted the creatures, abruptly truncating their bodies and covering the stumps with glossy black enamel. The effect has nothing macabre about it, however. There is no blood, no guts, no gore. Just the kind of careful application of a dark finish that one finds on trees where the limbs have been cut off for one reason or another. The black tar helps keep the rest of the tree safe and sound. Here the effect is less one of fixing than of framing, however, and it allows viewers to focus intimately on the beloved body parts of beloved creatures. The effect is not so far from how it feels to really love a living being—this isn’t about fetishization but intimate bodily love, how we love certain specific parts of those pets and children and spouses whom we love most of all. Kamin’s weirdness and brilliance is to have figured out that one way to represent those most beautiful feelings is through cut-up puppy parts. Who knew?