Bailey Doogan (October 24, 1941 – July 4, 2022) was an American artist best known for her large-scale, feminist paintings and drawings that offer an unflinching look at the aging, female body and that tackle cultural issues like the equation of beauty with youth.

Although Moore College had a fine arts program, Doogan pursued a more practical major and earned a bachelor's degree in illustration, which led to her first career in advertising.

[6] After completing her bachelor's degree, Doogan moved to New York and joined the graphic design firm DeMartin Marona and Associates where she re-designed the well-known Morton Salt Girl icon in 1968.

[7] In her essay “Logo Girls,” Doogan told the story of presenting multiple designs of “Mortie” (as the icon was known in her design office) to the Morton board of directors, who rejected all the first versions, saying things like: “She looks like a smarty pants!” “She looks easy!” “Not enough leg!”[8] Doogan's final version of the girl carrying an umbrella and a leaking box of salt was used until 2014 when a few changes were made (the type font was changed and some of the line work was simplified) to update the image for Morton Salt's centennial anniversary.

A year-long marriage to Ed Doogan, the birth of their daughter Moira and her move to Rancho Linda Vista, an artist's community just north of Tucson in Oracle, transformed her personal life.

[15] Doogan came to address the issues of women and aging in American society by a path that led through different media and different, but related, subject matter.

[17] Sheldon Reich points to the use of multiple panels, the addition of words and the growing boldness of Doogan's colors in her early paintings as an outgrowth of her work in film.

For "Articulate," Doogan traveled around the United States interviewing and taping prominent women in the art world (artists, critics and museum administrators).

[24] Although Doogan's style changes radically, her use of multiple panels and language as well as her interest in society's perception of women and male/female relationships carry through to her later work.

[25] The panels are topped with the words “Angry Aging Bitch,” and the letters R-I-B are highlighted in red in a Biblical reference to Eve's creation from Adam's rib.

The result is a three-dimensional quality that allowed Doogan to mimic the aging body in all of its details: wrinkles, bruises, varicose veins and sagging skin.

The painting's name Mea Corpa is a feminization of the Latin phrase from the Catholic mass “corpus meus” (the masculine form of “my body”).

"[38] For the ancient Greeks and the Western artists who have followed in their tradition, the “nude” as a genre depicts female and male forms as idealized objects of beauty that are divorced from the realities of physical bodies.

[40] As a consequence, Doogan didn't see the physical signs of age revealed in the naked body as imperfections because, as she said, "For me, skin is beautiful because it is a luminous diary of experience.

[43][44][45] The reason, according to art historian Mary D. Garrard, is that there is a taboo in Western society against depicting the bodies of older women because such images run counter to cultural norms that present beauty in terms of youth.