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Name of Faculty Sponsor

Dr. Diana McClintock

Faculty Sponsor Email

dmcclin1@kennesaw.edu

Abstract

The painter Caitlin Keogh (b. 1982) is a rising star in the Contemporary Art scene in the United States. Currently living and working in Brooklyn, New York, Keogh is one of countless emerging painters in the trendy arts hub, but her work is already receiving international attention and critical acclaim. Her refined use of flat figuration and bold but pastel colors combined with her striking subject matter has situated Keogh distinctly in the massive contemporary art scene today. Keogh’s insertion of feminist discourse, personal identity, and appropriated imagery into her paintings begs a thorough analysis of her work. She implements themes and motifs of womanhood in her art in ways that force the viewer to reevaluate these symbols of femininity and what they fundamentally mean. Keogh does not reject her femininity or typically feminine imagery, but instead re-presents it in her unique style as a way to embrace the world of the female, while still critiquing problems of gender constructs. Keogh may be using typical feminine bodies and motifs, but in her representation the artist is ultimately questioning gender roles and identity, challenging the idea that there is any one way to be feminine or a feminist. Instead of her femininity working against or pigeonholing Keogh in the arts world, it has actually served her greatly—her nuanced perspective is separating her from the masses and generating conceptual intrigue. This investigates the art historical as well as the social implications of Keogh’s body of work, which has yet to be thoroughly examined in Contemporary Art scholarship.

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