RECLAMATION PROJECT

On one corner of 18th and Olive there's the White Knight Sandwich Shop, a resplendent white-and-chrome palace that has somehow maintained its kitsch glory amid downtown decay. The counter is full at lunchtime. Across the way is Hoagie City, which fits in better with the dingy surroundings, one of those places where it looks as if the same lowlife crowd has been staring at the same cups of coffee for a thousand years. Down the street is the Railton Hotel — not the bottom of how far someone could fall, but the bottom's visible from there.

Ann's Beauty Shop and Boutique is abandoned. Ann, the ancient proprietress, died recently. Hanging in the shop windows are faded photos, cut from magazines, of beautiful models with what were once fashionable hairstyles. A single enormous hair dryer remains in the shop.

Kit Keith is peering through the window, expressing gasps and sighs of appreciation. "Isn't it fantastic?" she implores, her round face brightening. "I'd love to get in there and look around." She points to a picture hung on the far back wall of the shop, a pencil drawing of a young girl. The drawing is sweet, innocent, lovingly made by an untrained hand.

It's an image that could easily make its way into a Kit Keith drawing, or could be painted onto one of the used box springs she uses as canvases. Keith's studio fits seamlessly on the block, right between Hoagie City and Ann's. Keith's storefront display is crowed with some of those mattresses — the face of an H.L. Mencken-like geezer is painted on one, with the word "LUSH" printed beneath it.

The window's full of curiosities — a stuffed orange alligator, a toy dog, a row of buxom plastic women in coquettish garb that Keith says are called "Campus Cuties." In one corner of the storefront window is a black-and-white drawing of a grim-faced man who could have been a Mormon elder. A sign in the window reads, "ART FOR SALE INQUIRE WITHIN."

Gallery director William Shearburn says that the first time he walked into Keith's studio, "I was bowled over. Immediately there is this sense of nostalgia, harkening back to another time, with a real emotional core. I felt I was entering into somebody else's world. I felt I was in someone's book or diary."

Cartoonist Ben Katchor's creation Julius Knipl would fit easily into this world. So would much of St. Louis. So would much of America. Keith collects material from the unfashionable belt, an undefined territory that stretches across cities and towns throughout the country, the places where people who can't afford good taste try to decorate their lives anyway, however pathetically, however nobly.

Shearburn sold a Keith triptych recently, metal panels with endearing representations of dogs on each of them. "Everyone I showed it to," says Shearburn, "it struck a deep chord. And it wasn't just people who owned a dog."

An old magazine photo of two adorable white kittens posed against a red backdrop hangs on one wall of Keith's studio. She's drawn a voluptuous nude pinup girl between them. One of the pleasures of Keith's work is that, superficially, it is so blatantly obvious. And one of the other pleasures is that it isn't. Nostalgia, irony, melancholy, perversity — these are some of the elements within Keith's work that strike those deeper chords. She pulls from her drawing file a piece of faded sheet music, lyrics to a song verse still visible: "Waiting for her children on the peaceful shore." Keith has superimposed over the rest of the sheet a picture of a comely woman in a one-piece bathing suit, the words "Reduce chin neck abdomen hips thighs" surrounding her like inescapable directives. And layered on top of that image is a drawing of a thickly iced layer cake.

"My new work is about women and their weight," Keith says, slumped in a chair whose back keeps falling off. She has two shows opening in October — an exhibition of her "books" (odd collections of imagery pressed together haphazardly) at the Left Bank Books Gallery, and one at the University of Missouri­St. Louis' Gallery 210. "I don't know what I'll call that show, but I'm thinking of calling it Pussies, Chicks, Beavers, Foxes and Bitches. I'm doing work about those animal names they call women. A lot of pinup-girl art. I'm really, really interested in burlesque and investigating burlesque. Maybe I'll even talk to some people who used to be burlesque dancers."

The concern about women and body image has personal significance, as does much of her work. Keith stopped smoking a year ago to have a child and gained 35 pounds. "I couldn't believe how bad I felt, the comments I got. People didn't mean to hurt my feelings, but it hurt.

"Marilyn Monroe had a beautiful body," she notes — and a size 12 body at that. "We need to get away from that Calvin Klein junkie body and feel comfortable. Here I am — I just had a baby, and I'm obsessed about weight."

Keith isn't exactly exploring uncharted territory here, but she approaches these themes as if she were, which adds another layer of dissonance to the work. Hers is an intuitive process. The image of a buck-toothed, cheery adolescent boy on a baby mattress has written beneath it "MILK" in bold letters. Keith says it just seemed that it had to go there. She pulls out a drawing that includes a photo of a statue of Joan of Arc. "That's Joan of Arc?" she asks.

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