Intersections of Queerness and Christianity in the Art, Life and Legacy of Keith Haring

Project Title

Intersections of Queerness and Christianity in the Art, Life and Legacy of Keith Haring

Faculty Mentor(s)

Project Description

My project explores the intersections between queerness and Christianity in the art, life and legacy of 80s pop artist Keith Haring, using visual analyses of selected works and close readings of Haring’s journal and biography. Through my research I seek to critique and problematize how Haring’s experiences have been represented by critics following his death and the connection between these representations of Haring and problematic art historical traditions, ultimately examining how Haring’s identity positions him within power structures of gender, race and class.

Why is your research important?

My research fills gaps in and offers critiques of existing studies of Keith Haring, his work, and his legacy— looking at a lot of his work with a new thematic lens and nuance. Importantly, I think my research also offers an approach to studying contemporary artists that put them in conversation with older works, artists and ideas in order to point out how long-held art historical traditions persist in how we study and appreciate artists.

What does the process of doing your research look like?

My research is a lot of looking at artwork (both in-person at museums and digitally) and reading different articles, books, etc. I spend a lot of time doing work in the art library, Mudd, or the Allen Memorial Art Museum! Methodology-wise, it’s primarily visual analysis.

What knowledge has your research contributed to your field?

Through my research so far I’ve been able to offer new, detailed analyses of two of Haring’s works: The Ten Commandments and St. Sebastian. Through both of these studies I’ve found links between how Haring connects Christian and Queer themes through dehumanization and masculinized sexuality, and used visual details and the contextual histories of these works to better understand and problematize why Haring is hailed as a modern martyr and/or artistic genius. My study on Haring’s signature is also unique in its approach of using the signature as an icon that visually informs understanding of legacy.

In what ways have you showcased your research thus far?

I have put together two presentations for the Oberlin Summer Research Institute, participated in the Undergraduate Research Symposium and the regional conference for the Mellon Mays Fellowship! I also recently submitted my work to the Mellon Fellowship’s journal and am waiting to hear back on that!

How did you get involved in research? What drove you to seek out research experiences in college?

I did AP research in high school which got me interested in it and really inspired me to pursue it at Oberlin. I also conducted research over Winter Term of my sophomore year, which was an extension of a project I started in a class. Professor Neilson, whom I worked with for that project, encouraged me to apply to the Mellon Mays Undergraduate Fellowship and pursue my current project. Research always appealed to me as an opportunity to learn more about topics I didn’t have time to deep-dive into during class, and a chance to make my own work I was passionate about.

What is your favorite aspect of the research process?

I really appreciate all the people I’ve been able to meet and interact with through research, both in and outside of my field. Keith Haring has been my favorite artist for years, so I really love getting to spend my time researching him, looking at some of my all-time favorite works of art, and sharing them with others!

How has working with your mentor impacted the development of your research project? How has it impacted you as a researcher?

I’ve been lucky enough to work with a lot of different mentors over the course of my project, each with their own strengths, specialities, and new perspectives to bring to my work! In working with Professor Neilson and Professor Inglis I’ve really been able to strengthen and polish my writing and learn the value of revisions. And though neither specialize in modern art, their perspectives on the intersections of art and religion have been really helpful and both have inspired how I think of Haring in comparison to different moments in art history.

How has the research you’ve conducted contributed to your professional or academic development?

Conducting independent research has taught me a lot of valuable things about my work habits and how I get things done, and I’ve also been able to get a lot of practice writing art history content for different audiences with varying knowledge of the discipline. Through research I’ve also had new opportunities for networking and meeting new people, such as at the Mellon conference or doing Haring-related things like working with folks at the Allen or visiting the recent Haring exhibit at the Akron Museum of Art!

What advice would you give to a younger student wanting to get involved in research in your field?

With art history research at Oberlin, specifically, I always recommend starting with items at the Allen and in their collections! Find something that you really like, see what’s known about it already and then think of what unique perspectives you can add! There’s a real treasure trove of stuff there to kick-start object-study based research work and let you dip your toe into research with the department. Utilize all the facilities on campus by scheduling some time in the Print Study room at the museum and exploring the Art Library and all the different Special Collections spaces!