Christina Kee



More Articles by Christina Kee


Amy Ellingson, Variation (yellow, with emblem), 2011. Oil and encaustic on panel, 40 x 40 inches. Courtesy of the artist and Von Lintel Gallery, NY

Driven to Abstraction, A Group Show at Von Lintel Gallery

Thursday, July 28th, 2011

Closing reception Thursday evening (July 28, 5-8pm) as part of Chelsea Art Walk 2011


details of Medrie MacPhee, Float, 2009. Oil on canvas, 60 x 78 inches. Courtesy of Van Lintel Gallery, New York.

Hybrid “Futuristic Species”: The latest from Medrie MacPhee

Tuesday, July 6th, 2010

Medrie MacPhee: What It Is at Von Lintel Gallery


Josh-Smith

Josh Smith at Deitch Studios

Sunday, February 7th, 2010

The best works are vibrant and fun, and show the chops of a painter who takes delight in straightforward, rambunctious picture making.


Allison Katz, Poires Noires, 2009. Oil and rayon string on canvas, 66 x 56 inches. Courtesy of the Artist

Allison Katz: Ruthless in Chalk Farm at Battat Contemporary

Friday, June 26th, 2009

Although this exhibition consists of a wide range of works done over the past two years it is purely, and unapologetically, commemorative in spirit.


Sculpture Key West 2009

Wednesday, April 1st, 2009

At Sculpture Key West, the artists had only a few days – working in the heat, wind and rain – to execute their pieces. The drama inherent to such a logistically challenging process is palpable in the final result., CHRISTINA KEE discovered


Clintel Steed at the Bridge Art Fair

Friday, March 6th, 2009

Clintel Steed Mark Borghi Fine Arts Bridge Art Fair Clintel Steed’s powerful new paintings are among the best works on view at this year’s youthful, bustling – and very fun – Bridge Art Fair. Grouped generously in Mark Borghi’s gallery space, Steed’s large canvasses are a perfect fit for the setting; arresting and sustaining as…


Zach Harris: Requiem Reversals at Max Protetch Gallery

Friday, February 6th, 2009

Conventional readings of “above” and “below”, of north, south, east and west are confounded in these panels by the integration of patterned motifs – diamond shapes and curlicues – that resist any such perspectival pre-conditions. The improbable worlds that Harris presents are less pictures of places than visual destinations within elaborate structures, guiding the eye ever-centerwards.