BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//132.216.98.100//NONSGML kigkonsult.se iCalcreator 2.20.4//
BEGIN:VEVENT
UID:20260625T125345EDT-3511wgWbNT@132.216.98.100
DTSTAMP:20260625T165345Z
DESCRIPTION:The Department of Art History and Communication\nStudies welcom
 es Kristina Huneault\, Research Chair in\nArt History\, Concordia Universi
 ty\, to speak at our annual lecture\nseries (follow this link for a comple
 te list of this year's speakers).\nTitle: 'Diversity: Difference\, Identit
 y and the\nBotanical Encounter'\nAbstract: This paper offers a philosophic
 al\nexploration of the registers of sense and meaning intrinsic in\nbotani
 cal illustrations produced by women artists in nineteenth and\nearly-twent
 ieth century Canada. Beginning from the observation that\nvisual elements 
 of difference and repetition are key factors in the\npictorial organizatio
 n and appeal of such images\, my aim is to\nparticipate in a scholarly con
 versation that has positioned\nbotanical drawings as instruments of identi
 ty\, while simultaneously\nsuggesting a new perspective from which to deve
 lop that\nconversation further.\n\nConcepts of identity have been key to u
 nderstanding botanical art.\nFrom their scientific and taxonomical functio
 ns to their role as\nhistorical agents of colonization\, botanical drawing
 s have been\nclosely linked to processes of identification\, naming\, and
 \nclaiming. In Learning to Draw (2000) Ann Bermingham has\ntaught us to se
 e how the practice of botanical drawing also\ncontributed to a specificall
 y feminine identity during the\nnineteenth century. I seek to build on Ber
 mingham’s insight\, but by\ngrounding my analysis in the images’ visual or
 ganization rather\nthan their historical and discursive context\, I am led
  to other\,\nmore philosophically oriented\, conclusions. These relate to 
 the\nways in which botanical drawings mobilize elements of sameness and\nd
 ifference that consequently open a vantagepoint onto the complex\nexperien
 ce of the feminine self in relation to the world. While\,\nthrough their L
 atin inscriptions and controlled outlines\, botanical\nimages participate 
 in a rigorously upheld logic of sameness\, their\nqualities of brushstroke
  and seriality also instate pictorial\neffects of differentiation and repe
 tition at their very core\,\nprompting questions about the ontological pri
 macy of identity that\nare pertinent to feminist thought. Through their em
 brace of\nempiricism\, moreover\, botanical images raise the liberating\np
 ossibility that experience may exceed our preexisting conceptual\nframewor
 ks for it.\nKristina Huneault is a Concordia University\nResearch Chair in
  Art History. She holds an M.A. in Canadian Art\nHistory from Concordia (1
 994) and a Ph.D. from the University of\nManchester (1998)\, where she was
  a Commonwealth Scholar. She has\ntaught at Concordia since 1999\, and was
  the University’s emerging\nresearch fellow in 2004. At the undergraduate 
 level\, Dr. Huneault\nhas taught the introductory course on Western Art\, 
 as well as\ncourses on feminism\, methodology\, and 19th and 20th century
 \nEuropean Art. At the graduate level she focuses on methodology and\nthe 
 intersection between theory and history. She teaches in both\nthe MA and P
 hD programs\, and has offered courses on feminism and\nCanadian women arti
 sts\, semiotic reading practices\, the philosophy\nof subjectivity\, and t
 he writing of art history. Dr. Huneault's\napproach to art -- which bridge
 s feminism and poststructuralism\,\npsychoanalysis and social history -- c
 onsiders how pictorial images\nparticipate in the construction of subjecti
 vity. How do images help\nus understand the self in relation to others? In
  her first book\nDifficult Subjects: Working Women and Visual Culture\,\nB
 ritain 1880-1914 (Ashgate\, 2002) this theme was considered in\nrelation t
 o images of labouring women\, while in her current\nresearch she is explor
 ing the visible traces of gendered\nsubjectivity in artwork by historical 
 Canadian women. Recent work\non Helen McNicoll (Art History 27\,2)\, Franc
 es Anne Hopkins\n(Ashgate)\, and miniature painting (RACAR 30\, 1-2\;\nMan
 chester University Press) has been funded by SSHRC and FQRSC\,\nand relate
 s to her next monograph: Presence Through Absence: Gender\nin the Art of 1
 9th c. Canadian Women. Other published writings\ninclude articles on the p
 ublic display of working women in sweated\nindustries exhibitions (2000)\;
  images of flower sellers in\nVictorian culture (1998)\; women in British 
 trade union imagery\n(1996)\, and the war sculptures of Canadian artists F
 rances Loring\nand Florence Wyle (1994).\n
DTSTART:20101104T213000Z
DTEND:20101104T213000Z
LOCATION:Arts Building\, CA\, QC\, Montreal\, H3A 0G5\, 853 rue Sherbrooke 
 Ouest
SUMMARY:AHCS Speaker Series: Kristina Huneault 'Diversity: Difference\, Ide
 ntity and the Botanical Encounter'
URL:/channels/event/ahcs-speaker-series-kristina-hunea
 ult-diversity-difference-identity-and-botanical-encounter-168423
END:VEVENT
END:VCALENDAR