Butter Tub 1938

Editor: So this is Eugene C. Miller’s "Butter Tub," a drawing from 1938. It's charming; there’s a handmade, folk-art feel about it. What jumps out at you when you look at it? Curator: What I see is the valorization of the everyday, the domestic. Think about the broader socio-political landscape of 1938 – we're on the cusp of a world war, still reeling from the Depression. An object like this, a humble butter tub, becomes a quiet act of resistance. How does Miller’s focus on this single object relate to ideas of labor, value, and the artistic process during that time? Editor: That’s interesting! I was only really thinking about the aesthetic. I guess I didn't connect it to labor. Curator: Consider who typically made and used these tubs – often women, working-class families. Miller's choice of subject matter elevates their experiences, subtly challenging the dominant narratives that often exclude or marginalize those voices. Are there ways that his medium - drawing - furthers this effect? Editor: I hadn’t thought about it that way, but that makes sense. It's not some grand oil painting; it’s an accessible medium representing an accessible object. Almost democratic in a way? Curator: Exactly. Think about access and representation not just in terms of subject, but in terms of viewership, too. What stories are being told, and who is being given the power to tell them? This butter tub becomes more than just a container; it becomes a vessel for broader conversations about social equity. Editor: This has really changed how I look at still lifes! It's more than just pretty objects; it’s about history and who gets remembered. Curator: Indeed. Art offers us ways to engage with history.