KAWS, the pseudonym of the American artist Brian Donnelly, is best known for his distorted cartoon characters and embracing of popular culture, even being compared to Andy Warhol. Now, a lesser-known side is revealed as works from his vast art collection go on show in New York
Kamal Ahmed, one-half of the Grammy-nominated comedic duo The Jerky Boys, has built a career on subverting expectations. Known for his prank call comedy in the 1990s, Ahmed’s work with The Jerky Boys was as much about sharp wit as it was about creating hilariously absurd scenarios. Now, Ahmed is taking his knack for irony and subversion to a new realm: satirical drama. In his latest project, Crash the System, Ahmed writes and directs a hard-hitting mini-series that serves as both a reflection of our chaotic world and a biting critique of political dysfunction, cyber warfare, and covert racism.
The quintessentially New York show marks a significant departure from his comedic roots, but Ahmed’s signature sharpness remains. Much like his past work, Crash the System spares no one, skewering liberals, elites, and everyone in between while peeling back the layers of societal absurdity.
In this two-part interview, Ahmed delves into his transition from comedy to drama, the lessons he carried over from his Grammy-nominated career, and how growing up in New York shaped his artistic perspective. He also shares the creative process behind Crash the System, revealing how the project evolved from a feature film concept into a critically acclaimed episodic series.
Part 1 of this interview focuses on Ahmed’s journey from prank call comedy to thought-provoking storytelling, offering a glimpse into how his diverse creative background as a comedian, writer, musician, and director all converge in Crash the System.
You’re best known as one of the Jerky Boys, pioneers of prank call comedy in the 1990s. What inspired you to transition from comedy to dramatic storytelling?
I’ve always been drawn to art. I went to art school when I was younger, then became a musician and played bass. Creative writing also intrigued me. By the time I was in high school, I shifted my focus from art to motion pictures. Creativity has always been a core part of who I am.
Comedy, on the other hand, was more of a side passion. The Jerky Boys was a bit of a lucky break—it wasn’t something I actively pursued. Comedy just happened to align with my interests at the time.
How did your upbringing in New York shape your career and artistic perspective?
Growing up in New York meant being surrounded by diverse people and cultures. You’re exposed to so many different perspectives—art, music, film, food—everything. New York has a unique energy and history that shape you. It’s impossible not to absorb all of that. Being a born-and-raised New Yorker gave me a foundation for appreciating and exploring different creative expressions.
As someone who was Grammy-nominated for comedy, what lessons from your comedic career do you bring into your new dramatic work?
Being nominated for a Grammy taught me about the importance of taking your craft seriously. To get to that level, you need focus and dedication. Those qualities apply across mediums. Whether it’s comedy or drama, you need to stay centered and committed to the work.
Were there pivotal moments or personal experiences that steered you toward creating something as thought-provoking as Crash the System?
The inspiration came from everyday observations. Whether it’s conversations on the streets, debates online, or narratives pushed by the media, I noticed how everyone has their own version of “truth.” Some of it comes from mainstream sources, while other views stem from alternative perspectives. I wanted to explore those layers and contradictions, which became the foundation for Crash the System.
How has your experience in comedy influenced your ability to approach heavy themes like political polarization and covert racism in a way that resonates with audiences?
I’ve always been interested in multiple facets of life—not just comedy. Humor has a way of cutting through tension, and even in my dramatic work, there are moments of levity or irony. Life isn’t one-dimensional, and I think most people aren’t either. My work reflects that balance.
The Jerky Boys’ humor relied on irony and subversion. Do you see continuity between that and the satire in Crash the System?
In some ways, yes. With The Jerky Boys, we painted scenarios and let the interactions unfold naturally, often in unexpected ways. With Crash the System, I write scripts that allow actors to explore and interpret the material. Sometimes they bring new dimensions to my vision, but other times it aligns exactly as I imagined. There’s definitely a shared creative spirit in both approaches.
As a multi-hyphenate creator—comedian, writer, director, musician—how do you balance these roles, and how do they feed into each other?
It’s like parenting multiple kids, each with different interests. You find a way to give them all attention. Since I’ve been passionate about these things since childhood, balancing them feels natural. It’s all about making it work.
Crash the System explores complex and timely themes like cyber warfare and political dysfunction. What sparked the idea for Crash the System?
Originally, it was going to be a feature film about an artist grappling with psychosis after a personal tragedy. As the story evolved, it delved into the weapons industry and other societal issues. Then, I got a smart TV and discovered a world of streaming series. I realized I could adapt my idea into a series instead. I shot it like a movie, broke it into episodes, and now write specifically for the episodic format.
Season 2 delves deeper into the dystopian aspects of the story. How did you expand on the narrative and themes from Season 1?
Season 1 hinted at these elements, but I made them bigger in Season 2, adding more supernatural aspects. By Season 3, I toned that down a bit to refocus on the core storylines. Each season builds on the last, evolving the world and characters while keeping things fresh.
Part 2 is Coming Soon!
Interview organized by Kala Jerzy. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post From Prank Calls to Provocative TV Drama: Exclusive Interview with Kamal Ahmed on Comedy, Creativity, and Crash the System | Part 1 appeared first on World Art News.
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283 art galleries at Art Basel Miami
From December 6 to 8, 2024, the Miami Beach Convention Center presents a new edition of one of the most important art fairs in the world.
Source: Art Basel · Image: Art Basel Miami Beach 2023 · Courtesy Art Basel
Art Basel is delighted to announce the participating exhibitors and first details of its 2024 edition in Miami Beach, taking place from December 6-8, 2024 at the Miami Beach Convention Center. Led for the first time by Bridget Finn, Art Basel’s stalwart fair in the Americas will host 283 galleries from 34 countries and territories presenting the best of their world-class programs, including 32 first-time participants, marking the fair’s biggest cohort of newcomers since 2008.
Reflecting the fair’s singular position at the geographic and creative nexus of North and South America, Art Basel Miami Beach will showcase historical rediscoveries and bold, contemporary proposals from leading galleries in the Americas as well as premier international exhibitors whose programs attend to artistic production in the region. Nearly two-thirds of exhibitors at this year’s show hail from the Americas, representing the United States, Canada, Mexico, Brazil, Argentina, Colombia, Guatemala, Peru, and Uruguay – a testament to Art Basel’s mission to platform artistic excellence in the region and to support discovery and generative collaboration between regional and international art scenes and markets.
Exhibitors from Mexico, Brazil, Colombia, and Argentina will join the Miami Beach fair for the first time. Newcomers from the United States come from Florida, New York, California, Illinois, Texas, and Oregon, alongside several galleries from Canada. From Europe, the fair will see an expanded presence of newcomers from Spain, Portugal, France, and Poland, with Romania being represented at the show for the first time. There will also be a significant showing of new joiners from Asia, hailing from China, Singapore, and South Korea, with a first-time presence of Indonesia at the Miami Beach show.
A significant increase compared to recent years, 25 galleries will enter the show’s main sector, Galleries, for the first time this edition. This comes after the introduction of a new minimum-size booth option aimed at creating a more accessible and equitable starting point for small and mid-size exhibitors entering the main sector of the show. Galleries furthermore benefit from the fair’s sliding scale pricing system, whereby galleries with a larger booth pay more per square meter than galleries with a smaller booth. Adopted in 2019 and implemented across Art Basel’s four fairs globally, the linear sliding scale system was created to ensure a more level playing field for galleries across all segments of the market. Five galleries have also opted to share a booth at this year’s show, a model introduced by Art Basel in 2019.