Concordia University

Kristina Huneault, PhD

Professor, Art History
Graduate Program Director, Art History

Office: S-EV 3779 
Engineering, Computer Science and Visual Arts Integrated Complex,
1515 St. Catherine W.
Phone: (514) 848-2424 ext. 4697
Availability: FALL 2018: Thursdays, 3 - 5 pm.

Drop-ins welcome whenever possible outside these hours, or email for an appointment

Kristina Huneault holds a Concordia University Research Chair in art history.  She has an MA in Canadian art history from Concordia (1994) and a PhD in British visual culture from the University of Manchester (1998), where she was a Commonwealth Scholar.  She has taught at Concordia since 1999, and was the university's emerging research fellow in 2004.  Dr. Huneault's approach to art combines detailed historical research with theoretical questions about identity, difference, and the formation of the self.  She is a founder of the Canadian Women Artists History Initiative, and the 2010 recipient of the Marion Dewar Prize in Canadian Women's History.

Research & Teaching Interests

  • Nineteenth-Century Art and Visual Culture
  • Canadian Art
  • Art-Historical Method
  • Women Artists
  • Art and Philosophy
  • Art and Subjectivity
  • Art and Colonialism

Distinctions & Awards


  • Marion Dewar Prize in Canadian Women's History
  • Concordia University Emerging Research Fellow
  • Concordia University Research Chair in Art History

Teaching activities


(since 2002)

  • ARTH 200 Perspectives of Art History
  • ARTH 300 Art Historical Methods
  • ARTH 381 Feminism and Art History
  • ARTH 366 Aspects of Nineteenth-Century Western Art and Architecture. Topic: Realism
  • ARTH 400 Advanced Seminar in Art Historical Method: Telling Histories: Women and Art in Montreal


(since 2000)

  • ARTH 800 Art History and its Methodologies: Aesthetic Theory and Art History (with Dominic Hardy, UQAM)
  • ARTH 800 Art History and its Methodologies: Writing Art History
  • ARTH 800 Art History and its Methodologies: Making Meaning (with Jean-Philippe Uzel, UQAM)
  • ARTH 804 Writings on Art: Interpreting Subjectivities
  • ARTH 804G Writings on Art: Readings in Continental Aesthetics
  • ARTH 633 Creative and Critical Literature in Art History: Readings in continental aesthetics
  • ARTH 627 Feminism, Art, Art History: Canadian Women Artists
  • ARTH 655 Thesis Seminar

Thesis Supervision

I am especially interested in topics that combine an interest in history with theoretically-driven questioning.  Any nineteenth-century project is particularly welcome, as are those that engage with subjectivity or aesthetic philosophy, the visual history of colonialism, the cultural encounter with the natural world, or the method and history of art history.  For students with an interest in women and art in Canada I can offer the opportunity to participate in an active research network.

Katharine Stein (in progress)

Aditi Ohri (in progress)

Hannah Morgan (in progress)

Barbara Wisnoski (in progress)

Chantale Potié, MA
To Make Sense of a World: Translation, Germaine Koh, Globalization
Convocation: 2015

Pamela Mackenzie, MA
The Fourth Kingdom: Art and Agency in Plastic
Convocation: 2015

Jason Klimock, MA
Beyond Beauty: A Philosophic Consideration of Victorian Era Atlantic Salmon Flies
Convocation: 2014

Eliana Stratica-Mihail, MA
I Don't: The Commodification of the Bride in Montreal Art from the 1970s
Convocation: 2014

Taylor Leedahl, MA
Aganetha Dyck and the Honeybees: The Evolution of an Interspecies Creative Collaboration
Convocation: 2013

Adrienne Connelly, MA                                                             
Mapping the Atlas Group Archive
Convocation: Spring 2012

Patricia Sheppard, MA
Lady Caroline Bucknall Estcourt's Album: Revealing the Expressive Discourse Concealed within a Victorian Cultural Artifact
Convocation: Spring 2012

Jessica Darveau, MA
À l'origine d'un malaise : l'équivocité au cœur des œuvres de Yannick Pouliot.
Convocation: Fall 2011

Wendy Butler, MA
James Earl Fraser's The End of the Trail: Affect and the Persistence of an Iconic Image
Convocation: Fall 2010

Alexandra Mills, MA
A fluid play of interchangeable signs: Anna Jameson's Canadian sketches, 1836-1837
Convocation: Fall 2010

David Capell, MA
On Experience in the Art of Janet Cardiff and George Bures Miller
Convocation: Fall 2006

Julie Boivin, MA
The Aesthetics of Frivolity: Reinvesting in Balloons, Cake Icing, Bows, Ribbons and Trinkets
Convocation: Spring 2006

Kathryn Beattie, MA
Aspects of Acceptance and Denial in Posthumous Painted Portraits and Postmortem Photographs of Nineteenth-Century Children
Convocation: Spring 2006

Melinda Reinhart, MA
Lady Falkland's Travel Album: negotiating Colonial and Feminine Discourses
Convocation: Spring 2006

Avery Larose, MA
The Fragmented City: The Urban Landscapes of Eleanor Bond, Brenda Pelkey and Janet Cardiff
Convocation: Spring 2005

John Latour, MA
Manifestations of the Absent Figure in Canadian Sculpture since the Seventies
Convocation: Spring 2005

Peter Gallo, MA
Epistemological regularities of the surface gaze in the works of Michel Foucault and Clement Greenberg
Convocation: 2004

Carolyn Cross, MA
Body Marking Within New France: A Contemporary Perspective
Convocation: Fall 2000

Kim Rondeau, Art History (in progress)
Canonicity and Feminist Art History

Patricia Sheppard, Art History (in progress)
Albums by women in Victorian Canada

Kathryn Simpson, Art History (in progress)
Monsters in the Mirror: Strategies of Ugliness in Early-Twentieth-Century Viennese Self-Portraiture

Peter Gallo, Art History PhD
Bio-Aesthetics and the Artist as Case History
Convocation: 2012

Rosika Desnoyers, Humanities PhD
A Genealogy of Pictorial Berlin Work: A History of Errors
Convocation: 2012

Marie Shurkus, Humanities PhD
Appropriation Art: Moving Images, Presenting Difference
Convocation: Spring 2006

Research activities

Current Research

My individual research explores the interface between theories of subjectivity and art made by women in Canada during the nineteenth and early twentieth centuries.  How does art partake in the creation of a sense of selfhood, and how is it related to our understanding of others?  My answers to these questions have touched on subjects as diverse as the triangulation of gender, art and deafness, the visual articulation of First Nations - Settler relations, and the fascination for the natural world.  In each case, I employ a process of historically situated close looking, paying equal attention to the social contexts in which art was made and circulated, and to the material characteristics of images themselves.  To these I marry an interest in philosophically oriented questions about the subject in relation to the world.  Here my background and interests are eclectic.  My training in a feminism influenced by post-structuralism and psychoanalysis has more recently been expanded by postcolonial analysis, and I have a developing interest in thinkers of a pre-subjective experience, such as Deleuze. Visually, I am drawn by the challenge of "looking at the overlooked," and my research frequently engages with marginalized artists and genres, such as miniature painting and botanical illustration.  Methodologically, I see art history as a creative process whose task is to build a meaningful interface between the objects of the past and the concerns of the present.

My collaborative research occurs in conjunction with the Canadian Women Artists History Initiative.  This Concordia-based project promotes research on a wide range of historical Canadian women artists through conferences, workshops and publications.  We also support research through a Documentation Centre and the development of online historical research tools. After 4 decades of feminist scholarship, what does the study of women's specific experience continue to offer to art history?   Our recent work on women's encounter with the structures of professionalism is one example of way in which consideration of women's past continues to pose new insights, challenging art history to reconsider its assumptions and broadening the field of objects and practitioners available for study. CWAHI welcomes student involvement.


In preparation

  • I'm Not Myself At All: Women, Art, and Subjectivity in Canada. Manuscript in final stages of preparation for submission in March 2016.
  • Doing Settler-Colonial Art History in Canada, edited by Damian Skinner, Anne Whitelaw, and Kristina Huneault (manuscript currently in preparation for submission in 2016.

Submitted or at press

  • "A Past as Rich as Our Future Allows: An Historical Context for Feminist Art in Canada." In Desire/Change: Contemporary Feminist Art in Canada, edited by Heather Davis. Montreal: McGill-Queen's University Press, 2016. Co-authored with Janice Anderson


  • Rethinking Professionalism: Essays on Women and Art in Canada, 1850-1970. Ed. Kristina Huneault and Janice Anderson. Montreal and Kingston: McGill-Queen's University Press, 2012.
  • Difficult Subjects: Working Women and Visual Culture, Britain 1880-1914. London: Ashgate Press, 2002.


  • "Women and the Artistic Field, Cultural Production in the Canadian Context," Journal of Canadian Art History 34.2 (2013): 11-22. Co-authored with Janice Anderson.
  • "Reflections: The Canadian Women Artists History Initiative," Journal of Canadian Art History 32.2 (Fall 2011), 138-43.
  • "The Women Artists History Initiative: A Resource for Museums," Muse 29.3 (May-June 2011): 36-43.
  • "Beyond National or International: Art and Identity in Formerly Colonial Countries." Acta Historiae Artium 49 (2008): 71-75.
  • "Miniature Objects of Cultural Covenant." RACAR: Revue d'art canadien/ Canadian Art Review 30.1-2 (2005) 87-100.
  • "Impressions of Difference: The Painted Canvases of Helen McNicoll." Art History 27. 2 (Spring 2004): 212-49.
  • "'The Week of My Life': The Visual Culture of Women's Trade Union Demonstrations." Visual Culture in Britain 3, 12 (2002): 1-22.
  • "Flower-Girls and Fictions: Selling on the Streets." RACAR: Revue d'art canadien/ Canadian Art Review XXIII, 1-2 (1996/1998): 52-70.
  • "With Shield and Sword: Working Women and Trade Union Imagery 1880-1914." Things: A Journal of Material Culture 4 (Summer 1996): 62-81.
  • "Heroes of a Different Sort: Gender and Patriotism in the War Workers of Frances Loring and Florence Wyle." Journal of Canadian Art History 15 (Summer 1994): 26-49.

Book Chapters

  • "As Well As Men: The Gendering of Beaver Hall.” In The Beaver Hall Group of Painters, Jacques Des Rochers and Brian Foss, eds., 263-92. Montreal: Montreal Museum of Fine Arts, 2015 (Also published in French).
  • "In Miniature: Trauma and Indigenous Identity in Colonial Canada." In Visual Politics of Psychoanalysis: Art and the Image in Post-Traumatic Cultures, edited by Griselda Pollock, 41-59. London: I.B. Taurus, 2013.
  • "Miniature Painting as Transcultural Object? The John Norton and Peter Jones Portraits." In The Art of Transculturation. Ed. Julie Codell. Aldershot: Ashgate, 2012.
  • "Professionalism as Critical Concept and Historical Process for Women and Art in Canada." In Rethinking Professionalism: Essays on Women and Art in Canada, 1850-1970. Ed. Kristina Huneault and Janice Anderson. Montreal and Kingston: McGill-Queen's University Press, 2012.
  • "Always There: First Peoples and the Consolation of Miniature Portraits in British North America." In Art and the British Empire. Ed. Tim Barringer, Geoff Quilley and Doug Fordham. Manchester: Manchester University Press, 2007. 288-308.
  • "Placing Frances Anne Hopkins". In Global/Local: Women's Art in the Nineteenth Century. Ed. Deborah Cherry and Janice Helland.  London: Ashgate, 2006. 179-199.
  • "Living Tableaux of Misery and Oppression: Representing Sweated Labour." In Work and the Image II: Work in Modern Times. Ed. Griselda Pollock and Valerie Mainz. London: Ashgate Press, 2000. 11-31.

Catalogue essays

  • "Frances Anne Hopkins and Princess Louise." The Artist Herself: Self-Portraits by Canadian Historical Women Artists, edited by Tobi Bruce and Alicia Boutilier, 50-53. Kingston and Hamilton: Agnes Etherington Art Centre and Art Gallery of Hamilton, 2015.
  • "Emily Carr Inside a Forest II." Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic, edited by Peter John Brownlee, Valéria Piccoli and Georgiana Uhlyarik, 248-51. Yale: Yale University Press, 2015.
  • "The Victorian Dress by Helen McNicoll." Choice Matters: Key Works from the Art Gallery of Hamilton, edited by Toby Bruce, 102-3. Hamilton: Art Gallery of Hamilton, 2005. 
  • The Owl Pen Prints: Illustrations by Lucille Oille. Windsor: Art Gallery of Windsor, 1992.

Book reviews and dictionary articles

  • "Helen Cordelia Angell." New Dictionary of National Biography. Oxford: Oxford University Press, 2004.
  • "Edith Martineau." New Dictionary of National Biography. Oxford: Oxford University Press, 2004.
  • "Art and the Committed Eye (Book Review)." British Journal of Aesthetics 37, 1 (January 1997): 102-4.
  • "Kate Greenaway." In Dictionary of Women Artists, edited by Delia Gaze, 610-13. London: Fitzroy Dearborn, 1997.

Websites (Online Scholarly Databases)

Participation activities

Conferences & Lectures


  • Standpoint: Settler-Colonial Art History as Position. Doing Settler-Colonial Art History in Canada, Department of Art History, Concordia University, Montreal, 2014.
  • Arkhe: Art and the Archives. Berkshire Conference on Women's History, University of Toronto and the Art Gallery of Ontario, Toronto, 23 May 2014 .
  • Settler-Colonial Art History: A Transnational Perspective, Concordia University, Montreal, 2 October 2014.
  • Settler-Colonialism and Art in Canada. Art and the British Empire Exhibition Methodology Workshop, Yale Centre for British Art, 5-7 December 2014.
  • Everything is connected: Emily Carr, Salish basketry the challenges of Canadian women's art history. University of Alberta, Edmonton, 28 March 2013.
  • Am I that nature? Emily Carr, Salish baskets, and the idea of the world. Feminist Art History Conference 2012, The American University, Washington, 9-10 November 2012.
  • Every animate and inanimate thing': art and ontology across cultures. Universities Art Association of Canada, Montreal, 1-3 November 2012.
  • Beyond the Great Divide: Human and Non-Human Nature in the Late Paintings of Emily Carr, Beyond the Culture of Nature, University of British Columbia, 29 September 2012.
  • The Canadian Women Artists History Initiative. Canadian Museums Association Conference, 26 April 2012.
  • "New Questions or Stale Answers?  Feminism and Art History. Keynote Address, Women Art: Continuing Discourses Undergraduate Conference, Concordia University 24 March 2012.
  • Women Art: Continuing Discourses (Panel Discussion). FoFA Gallery, Concordia University, 23 March 2012.
  • "Diversity: Difference, Identity and the Botanical Encounter." McGill University, 4 November 2010.
  • "Critically Canadian: Archives, Collections and Art Historical Research in Canada", panel participant, Universities Art Association of Canada, 16 October 2010.
  • "Difference and Identity in Botanical Drawing." Universities Art Association of Canada.  University of Alberta, 23 October, 2009.
  • "Difference and Repetition / Gendered Identity and Botanical Drawing." Greenscapes ~ Sense and Meaning. Brock University, 3 October, 2009.
  • "Practice and Method in the Canadian Women Artists History Initiative". Ontario Association of Art Galleries Fall Focus Session: Art Institutions and the Feminist Dialectic, 2 December, 2008.
  • "Beyond National or International: Art and Identity in Formerly Colonial Countries." How to Write Art History: National Regional or Global? CIHA conference, Budapest, 21-25 November, 2007.
  • "Gender as a Lens for Nationhood: The Canadian Women Artists' History Initiative." Universities Art Association of Canada, Waterloo, 2-4 November, 2007.
  • "Seeing Demasduit." Portrait Gallery of Canada/National Gallery of Canada, 18 October, 2007.
  • "Creative statements, discursive webs, and formal analysis: Methodological considerations in art history." History in Images, History through Images conference, École normale supérieure des letters et sciences humaines, Lyon, 28 June, 2007.
  • "Transition and Translation: Miniature Paintings and First Nations Sitters in British North America, Association of Art Historians." Belfast, 12 April, 2007.
  • "How Close to Me? Mothers and Babies in Canadian Art." Picturing Her: Images of Girlhood. McCord Museum, Montreal, 1 December, 2005.
  • "Miniature Painting and the Fine Art of Selfhood". Montreal Museum of Fine Arts/Concordia University, 19 January, 2005.
  • "Demasduit and Lady Hamilton: Cross Cultural Contact in 19th century Newfoundland." American Society of Ethnohistorians. Newberry Library, Chicago. 27-30 October, 2004.
  • "Limned: The Gendered Space of Miniature Painting in Colonial Canada." Congrès international de l'histoire de l'art, Montreal, 26 August, 2004.
  • "Whose Name at Stake?  Women, Art and Travel in Colonial Canada." Association of Art Historians, Nottingham, 2 April, 2004.
  • "Frances Anne Hopkins in Rupert's Land", McGill University, 21 October 2003.
  • "The Name That Means Name-Giver", Victorian Visual Culture Group, Yale University, 16 October 2003.

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