Edwin Headley Holgate (1892-1977), Reclining Nude, 1938, watercolour, charcoal, on rag paper, Firestone Collection of Canadian Art

By the advent of the twentieth century, life drawing classes were common practice in art schools in both Europe and Canada. Subjecting Figures displays a sampling of the Firestone Collection of Canadian Art's holding of over one hundred and fifty drawings of nude models, including anatomical studies by Clarence Gagnon, models posed as prototypes of actions or emotions by Philip Surrey, and nudes placed within narrative scenarios by Edmund Alleyn.

The representation of the nude in art, however, has a contentious history. Beginning in the sixteenth century, the nude came to be associated with the female form. By the eighteenth century, biology was used to justify social gender divisions, and women's reproductive systems relegated them to an association with the body. In the 1970s, feminist cultural critics identified the ways in which patriarchal practices of subjection and objectification affected the visual representation of women's bodies through Western art history. Feminist artists have looked to the body as a site to subvert these histories, and have explored the social and physical experiences of the constructions of gender. As an exploration of these critiques, the historical drawings and paintings in this exhibition have been placed in the context of contemporary work by artists Chantal Gervais (Ottawa) and Melanie Garcia (Montreal), both whom address issues pertaining to the body.

Chantal Gervais' large photographic prints display her own body as the subject of scientific and artistic examination through MRI and other types of scans. Gervais questions the body's objectification and fragility, attempts to measure it against a standard of perfection, and examines how the self is contained in its corporeality. In her series of prints, Melanie Garcia places unclothed store mannequins into images of rooms from architectural magazines. Akin to life-drawing models, these mannequins maintain a level of malleability in terms of emotion and narrative. They also, however, emphasize the artificiality of the perfection sought for both body and space in contemporary culture.

– Catherine Sinclair, Curator, Firestone Collection of Canadian Art

The Firestone Collection of Canadian Art is a significant art collection that spans the modern period. In 1972, O.J. and Isobel Firestone donated their collection to the Ontario Heritage Foundation. In 1992, the Foundation transferred ownership to the City of Ottawa. The OAG houses and presents the collection through changing exhibitions that highlight its breadth and diversity.

Chantal Gervais wishes to thank The Ontario Arts Council and the City of Ottawa for their generous support.

Events

Opening
Thursday 25 February at 5:30 pm

Exhibition Walkthrough with curator Catherine Sinclair (in English)
Friday 9 April at 12:30 pm

Talk with artist Chantal Gervais
Friday 23 April at 12:30 pm

Tour of Subjecting Figures followed by a sketching session at the Mercury Lounge hosted by Dr. Sketchy
Monday 26 April at 6 pm - 10 pm