A sort of creativity maverick, or so his resume leads us to believe, Kevin Christy seems to be a highly identifiable figure in the art world. Many of the publications he has contributed to—ranging from the adolescent fervour magazine Nylon to the New York Times—Christy’s aesthetic is very appealing.
His work can be characterized as transition. Much of his technique is beautiful, combining varying types of materials and raw talent, portraying each piece as something that a buyer of Nylon magazine would appreciate in a youthful deprecating sort of way, as well as the political charge or message that can be appropriate for the New York Times. It’s the blurring that is prevalent in popular culture that, while it does make strict lines for age demographics or other specified audiences, this type of work can be canonized by its universal appeal.
By: Sarah MacDonald