Caitlin Keogh, ‘Big Names’, 2013, Painting, Acrylic and graphite on panel, Phillips
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Caitlin Keogh

Big Names, 2013

Acrylic and graphite on panel
17 × 12 in
43.2 × 30.5 cm
Bidding closed
About the work
Exhibition history
Provenance
P
Phillips
Medium
Signature
Signed, titled and dated "BIG NAMES Caitlin Keogh 2013" on the reverse
Caitlin Keogh
American, b. 1982
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Eschewing academic distinctions between the fine and applied arts, Caitlin Keogh produces finely detailed paintings and drawings of textile patterns and fashion accessories, unabashedly reveling in the beauty and technique of designing, making, and wearing clothing. “My interest in drawing and painting developed synonymously with learning to sew and loving fabrics,” she explains, citing Cecil Beaton’s controversial photographs of models posing in front of Jackson Pollock paintings (published in Vogue, March 1951) as affirming, boundary-breaking influences on her own work. She sources the patterns for her paintings, which mimic swatches of woven or printed fabric, from scraps of cloth and images in books and online. In her detailed, colored pencil on paper drawings, Keogh concentrates on such fashion accessories as shoes and scarves, depicting them with a wit and playfulness that hints at their fetishistic status.

Caitlin Keogh, ‘Big Names’, 2013, Painting, Acrylic and graphite on panel, Phillips
Save
Save
View
View in room
Share
Share
About the work
Exhibition history
Provenance
P
Phillips
Medium
Signature
Signed, titled and dated "BIG NAMES Caitlin Keogh 2013" on the reverse
Caitlin Keogh
American, b. 1982
Follow

Eschewing academic distinctions between the fine and applied arts, Caitlin Keogh produces finely detailed paintings and drawings of textile patterns and fashion accessories, unabashedly reveling in the beauty and technique of designing, making, and wearing clothing. “My interest in drawing and painting developed synonymously with learning to sew and loving fabrics,” she explains, citing Cecil Beaton’s controversial photographs of models posing in front of Jackson Pollock paintings (published in Vogue, March 1951) as affirming, boundary-breaking influences on her own work. She sources the patterns for her paintings, which mimic swatches of woven or printed fabric, from scraps of cloth and images in books and online. In her detailed, colored pencil on paper drawings, Keogh concentrates on such fashion accessories as shoes and scarves, depicting them with a wit and playfulness that hints at their fetishistic status.

Caitlin Keogh

Big Names, 2013

Acrylic and graphite on panel
17 × 12 in
43.2 × 30.5 cm
Bidding closed
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