John Henry
terresauvage:

Margaret Watkins
The Kitchen Sink, c.1919
From the National Gallery of Canada:

Her subject matter for this photograph, a kitchen sink with an unwashed jug, milk bottle and other crockery, was shockingly revolutionary for a work of art. Watkins was the first to turn a fundamental and once exclusively female issue, the responsibility for domestic household labour, into a still life. Her composition is equally innovative - the glass bottles, kettle, spout and tap repeat a rhythm of circular and tubular shapes which alternately cast shadows and reflect light, creating an abstract pattern of subtle greys. Watkins used palladium printing paper because it produced a wide range of soft greys (as opposed to the harder contrasts of the silver print). From the 1910s onward, women were encouraged to learn photography, especially commercial portrait photography, as it was considered a suitable female profession. The Clarence White School of Photography taught new theories of modern art, design and photography with emphasis on abstraction and formal composition. Most of the students were women. The importance of Watkins’s photographs has only recently been discovered. After 50 years of neglect, they were exhibited in New York in 1984, prompting a renewed assessment of her career and influence.

terresauvage:

Margaret Watkins

The Kitchen Sink, c.1919

From the National Gallery of Canada:

Her subject matter for this photograph, a kitchen sink with an unwashed jug, milk bottle and other crockery, was shockingly revolutionary for a work of art. Watkins was the first to turn a fundamental and once exclusively female issue, the responsibility for domestic household labour, into a still life. Her composition is equally innovative - the glass bottles, kettle, spout and tap repeat a rhythm of circular and tubular shapes which alternately cast shadows and reflect light, creating an abstract pattern of subtle greys. Watkins used palladium printing paper because it produced a wide range of soft greys (as opposed to the harder contrasts of the silver print). From the 1910s onward, women were encouraged to learn photography, especially commercial portrait photography, as it was considered a suitable female profession. The Clarence White School of Photography taught new theories of modern art, design and photography with emphasis on abstraction and formal composition. Most of the students were women. The importance of Watkins’s photographs has only recently been discovered. After 50 years of neglect, they were exhibited in New York in 1984, prompting a renewed assessment of her career and influence.

(Source: gallery.ca)

Louise Scott, Watching Professeur Tournesol

Louise Scott, Watching Professeur Tournesol

Alex Colville, October from “A Book of Hours: Labours of the Months”, 1979

Alex Colville, October from “A Book of Hours: Labours of the Months”, 1979

Lilias Torrance Newton, Portrait Study, c.1923

Lilias Torrance Newton, Portrait Study, c.1923

artgalleryofontario:

The Rain (Elijah Series), 1929 ?Bertram Brooker, Canadian, 1888 - 1955Pen and ink38 x 25.3 cmGift of Bernard and Sylvia Ostry, Toronto, 2007© 2014 Art Gallery of Ontario

artgalleryofontario:

The Rain (Elijah Series), 1929 ?
Bertram Brooker, Canadian, 1888 - 1955
Pen and ink
38 x 25.3 cm
Gift of Bernard and Sylvia Ostry, Toronto, 2007
© 2014 Art Gallery of Ontario

hfml:

garconniere:

The Shirt by Shelley Niro, 2003.

Niro’s work consists of a connecting series of photographs that should be read together as a whole narrative. The images are set in a pastoral landscape, and each subsequent photograph offers an increasingly incisive statement on the colonization of the land that once belonged to aboriginal peoples.

Shelly Niro was born in Niagara Falls, NY in 1954. She is a member of the Mohawk Nation, Iroquois Confederacy, Turtle Clan, Six Nations Reserve. She is currently based in Brantford, Ontario, and works in a variety of media, including beadwork, painting, photography, and film. (via virtual museum)

One of my favourite works.