User:JLMarlin/sandbox

Bold Introduction Mary Rawlyk is a Canadian artist who made prints in her basement. She is married to George Rawlyk and continued her education throughout her adult life while following her husband to the many places he was studying and teaching. She has two daughters, Anna and Miriam. She was a High School teacher in Math and Science for 3 years before going back to school. Later in her life she taught at Dalhousie University’s medical school, she instructed a lab catch up course for students from Newfoundland. When she moved to Kingston she invited a group of local artists into her home to draw. She continued drawing and eventually decided to make prints. She made prints in the four main types of print making: woodcut and linocut, screen stencil processes, etching and intaglio printing, and lithography. Eventually she created her own Curriculum Vitae that she submitted to St. Lawrence College, as well as a job application.

Education She studied fine art in New Brunswick at Mt. Allison University in 1960. Previously, she obtained a degree in science from McMaster University and graduated from Ontario College of Education with the University of Toronto. She could teach Math and Science in high school and taught for a few years before getting married to a Professor at Mt. Allison University, it was after this that she started her studies in art. She learned painting, printmaking, life drawing, methods and materials and art history. She then moved to New York and studied Art at Rochester Memorial Art Gallery for two years, again learning more about printmaking. Her and her family then moved back to Canada and she again enrolled in school. In Halifax, she took night courses at the Nova Scotia College of Art and continued drawing on her own time. She then went on to eventually enroll in Post Graduate Studies at Brighton Polytechnic, in England, for Printmaking.

Feminist Inspirations Most of her drawings were of her family, as well as some of models and animals. Her family and home life were very influential in her art. She made her prints in the basement of her home and drew in the dining room. Her life was intertwined with her home responsibilities and her art, they were not separated in her home or her mind. She would often be thinking of her art while completing her domestic duties. Sometimes her domestic life would overwhelm her creative life and her work would be left incomplete. Despite these challenges, she was able to have a place in the Canadian printmaking world. Her prints often represented these two lives conflicting. She had a series of prints based on household objects. She wanted to make prints about landscape but it her domestic life was too demanding. Her print, Shading Window, represented this struggle in her art. It was leaves outside of the glass with a shade, representing her view as female artist.

Her art slowly became more reflective of her life as a housewife as she realized that other women were struggling with similar issues and annoyances. “And it took me many more years to understand that this personal experience of women is Political, that is, controlled by wider political structures.” Overtly feminist messages worked their way into Rawlyk’s art in the 1980’s, she used the apron as a symbol for the private domestic labour of women. Then she moved to represent the ties as arms and made prints of them, the realism commented on the importance of the problem. The ties as arms made it easy for her to convey messages and emotions, the knot represented the loss of freedom that the household takes from a woman. This was the inspiration behind The Apron Show, exhibited at the Agnes Etherington Art Centre at Queen’s University. The Bow Series, two pieces also exhibited at the Agnes, was a comment on how young women are put under a lot of pressure to look a certain way, resulting in a lot of effort being put into one’s beauty. She saw this as a loss of freedom, following women being confined to the kitchen instead of being creative. She became more concerned about feminist issues and it became very evident in her work. Apron Flags was a piece she created in response to the lack of women’s rights included in the Canadian Constitution in 1982. As well as the disrespect shown in the House of Commons towards the issue of battered women.

The Apron Series drew from Jim Dine’s Bathrobes as a way to use clothing as artworks. Her art also derives from Pop Art Imagery from the 1960’s as it has a strong feminist perspective.

The Housewife Series represented how women were seen as domestic objects by pairing household objects with photographs of her hands and face. She worked on this series for over three years and is considered her most feminist driven work. With this series, she drew attention to the fact that “women’s private domestic labour supports the wider political structures which control women’s lives.”

Artwork •	Shading Window o	Domestic Object Series o	Multiple Print Processes o	1977 o	76.5cm x 56cm o	Ed 20 o	Collections- Agnes Etherington Art Centre, Toronto Dominion Bank, T. Eaton Company, Moore Corporation, Patrician Development, British Columbia Central, Credit Union o	Exhibitions- 9th Burnaby Biennial Print Show, Printmaking Symposium 1977 Solo Exhibition Agnes Etherington Art Centre, The Robert McLaughlin Gallery solo exhibition 1984., The Mount St. Vincent University Art Gallery 1986, The Kingston Public Library 1980’s, The Art Gallery of Burlington 2015. •	Boiling o	Domestic Object Series o	1973 o	Relief printed etched plates o	56cm x 38cm o	 Ed 50 o	Arches Paper o	Collections- Agnes Etherington Art Centre, Queens University., The Robert McLaughlin Gallery, Oshawa ON. o	Exhibitions- Solo Exhibition at the Agnes Etherington Art Centre, Queens University 1974. Solo Exhibition at the Robert McLaughlin Gallery, 1985. Mount Saint Vincent University Gallery, 1986. Kingston Public Library, 1980’s..

•	Horizontal Hand Painting o	1976 o	Screen Print o	56cm x 57cm o	Collection-Art Gallery of Northumberland, 2012 •	Sewing o	Triptych of prints o	1957 o	Etching and Serigraph on paper o	Exhibition- Art Gallery of Burlington, 2015. Agnes Etherington Art Centre, Queens University 2016. •	Wringing Shirt o	1974 •	Brushing Hair o	1978 •	Canadian Apron Flag o	The Apron Series o	1981-1982 •	Measuring Cup Woman, Reflecting o	The Housewife Series o	1981-1982 •	The Bow Series o	1982 •	The Apron Series o	1982 Collaborations In 2006, Rawlyk teamed up with Martha Rosler for an Exhibition at the Agnes Etherington Art Centre entitled Slow Boil. Rosler’s “Semiotics of the Kitchen” was the focus of the exhibit. Rawlyk’s contributions consisted of eight etchings and prints. These include “Boiling” and “Measuring Cup Woman.” Each of her pieces of work included all have strong Feminist messages pertaining to the domestic women. This complimented Rosler’s video as its message was that women were seen as domestic objects. The Agnes Etherington Art Centre displayed this exhibit as they believed it was relevant to today as a time when “domestic violence and reproductive choice are on the political agenda in Canada and the United States.”

Interpretations In 2016, Wendy Cain created a floral interpretation of Rawlyk’s triptych prints titled Sewing. This was created for the fundraising gala supporting ArtZone and Agnes Connects. Floral interpretations were also created for two of her other works as well; Wringing Shirt and Brushing Hair. Introduction Mary Rawlyk is a Canadian artist who made prints in her basement. She is married to George Rawlyk and continued her education throughout her adult life while following her husband to the many places he was studying and teaching. She has two daughters, Anna and Miriam. She was a High School teacher in Math and Science for 3 years before going back to school. Later in her life she taught at Dalhousie University’s medical school, she instructed a lab catch up course for students from Newfoundland. When she moved to Kingston she invited a group of local artists into her home to draw. She continued drawing and eventually decided to make prints. She made prints in the four main types of print making: woodcut and linocut, screen stencil processes, etching and intaglio printing, and lithography. Eventually she created her own Curriculum Vitae that she submitted to St. Lawrence College, as well as a job application.

Education She studied fine art in New Brunswick at Mt. Allison University in 1960. Previously, she obtained a degree in science from McMaster University and graduated from Ontario College of Education with the University of Toronto. She could teach Math and Science in high school and taught for a few years before getting married to a Professor at Mt. Allison University, it was after this that she started her studies in art. She learned painting, printmaking, life drawing, methods and materials and art history. She then moved to New York and studied Art at Rochester Memorial Art Gallery for two years, again learning more about printmaking. Her and her family then moved back to Canada and she again enrolled in school. In Halifax, she took night courses at the Nova Scotia College of Art and continued drawing on her own time. She then went on to eventually enroll in Post Graduate Studies at Brighton Polytechnic, in England, for Printmaking.

Feminist Inspirations Most of her drawings were of her family, as well as some of models and animals. Her family and home life were very influential in her art. She made her prints in the basement of her home and drew in the dining room. Her life was intertwined with her home responsibilities and her art, they were not separated in her home or her mind. She would often be thinking of her art while completing her domestic duties. Sometimes her domestic life would overwhelm her creative life and her work would be left incomplete. Despite these challenges, she was able to have a place in the Canadian printmaking world. Her prints often represented these two lives conflicting. She had a series of prints based on household objects. She wanted to make prints about landscape but it her domestic life was too demanding. Her print, Shading Window, represented this struggle in her art. It was leaves outside of the glass with a shade, representing her view as female artist.

Her art slowly became more reflective of her life as a housewife as she realized that other women were struggling with similar issues and annoyances. “And it took me many more years to understand that this personal experience of women is Political, that is, controlled by wider political structures.” Overtly feminist messages worked their way into Rawlyk’s art in the 1980’s, she used the apron as a symbol for the private domestic labour of women. Then she moved to represent the ties as arms and made prints of them, the realism commented on the importance of the problem. The ties as arms made it easy for her to convey messages and emotions, the knot represented the loss of freedom that the household takes from a woman. This was the inspiration behind The Apron Show, exhibited at the Agnes Etherington Art Centre at Queen’s University. The Bow Series, two pieces also exhibited at the Agnes, was a comment on how young women are put under a lot of pressure to look a certain way, resulting in a lot of effort being put into one’s beauty. She saw this as a loss of freedom, following women being confined to the kitchen instead of being creative. She became more concerned about feminist issues and it became very evident in her work. Apron Flags was a piece she created in response to the lack of women’s rights included in the Canadian Constitution in 1982. As well as the disrespect shown in the House of Commons towards the issue of battered women.

The Apron Series drew from Jim Dine’s Bathrobes as a way to use clothing as artworks. Her art also derives from Pop Art Imagery from the 1960’s as it has a strong feminist perspective.

The Housewife Series represented how women were seen as domestic objects by pairing household objects with photographs of her hands and face. She worked on this series for over three years and is considered her most feminist driven work. With this series, she drew attention to the fact that “women’s private domestic labour supports the wider political structures which control women’s lives.”

Artwork •	Shading Window o	Domestic Object Series o	Multiple Print Processes o	1977 o	76.5cm x 56cm o	Ed 20 o	Collections- Agnes Etherington Art Centre, Toronto Dominion Bank, T. Eaton Company, Moore Corporation, Patrician Development, British Columbia Central, Credit Union o	Exhibitions- 9th Burnaby Biennial Print Show, Printmaking Symposium 1977 Solo Exhibition Agnes Etherington Art Centre, The Robert McLaughlin Gallery solo exhibition 1984., The Mount St. Vincent University Art Gallery 1986, The Kingston Public Library 1980’s, The Art Gallery of Burlington 2015. •	Boiling o	Domestic Object Series o	1973 o	Relief printed etched plates o	56cm x 38cm o	 Ed 50 o	Arches Paper o	Collections- Agnes Etherington Art Centre, Queens University., The Robert McLaughlin Gallery, Oshawa ON. o	Exhibitions- Solo Exhibition at the Agnes Etherington Art Centre, Queens University 1974. Solo Exhibition at the Robert McLaughlin Gallery, 1985. Mount Saint Vincent University Gallery, 1986. Kingston Public Library, 1980’s..

•	Horizontal Hand Painting o	1976 o	Screen Print o	56cm x 57cm o	Collection-Art Gallery of Northumberland, 2012 •	Sewing o	Triptych of prints o	1957 o	Etching and Serigraph on paper o	Exhibition- Art Gallery of Burlington, 2015. Agnes Etherington Art Centre, Queens University 2016. •	Wringing Shirt o	1974 •	Brushing Hair o	1978 •	Canadian Apron Flag o	The Apron Series o	1981-1982 •	Measuring Cup Woman, Reflecting o	The Housewife Series o	1981-1982 •	The Bow Series o	1982 •	The Apron Series o	1982

Collaborations In 2006, Rawlyk teamed up with Martha Rosler for an Exhibition at the Agnes Etherington Art Centre entitled Slow Boil. Rosler’s “Semiotics of the Kitchen” was the focus of the exhibit. Rawlyk’s contributions consisted of eight etchings and prints. These include “Boiling” and “Measuring Cup Woman.” Each of her pieces of work included all have strong Feminist messages pertaining to the domestic women. This complimented Rosler’s video as its message was that women were seen as domestic objects. The Agnes Etherington Art Centre displayed this exhibit as they believed it was relevant to today as a time when “domestic violence and reproductive choice are on the political agenda in Canada and the United States.”

Interpretations In 2016, Wendy Cain created a floral interpretation of Rawlyk’s triptych prints titled Sewing. This was created for the fundraising gala supporting ArtZone and Agnes Connects. Floral interpretations were also created for two of her other works as well; Wringing Shirt and Brushing Hair.