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I am a Senior Lecturer in Art History in the School of Communication and Arts. My research often focusses on the relationship between contemporary art and time, working across the areas of philosophy, time studies, art history and critical theory. I completed my art history PhD at the University of Melbourne. Prior to joining UQ, I was ARC Senior Research Associate at the University of Melbourne, and have also worked as a curator and editor with various arts institutions.

My books include the monograph Parallel Presents: The Art of Pierre Huyghe (MIT Press, 2012, winner of AAANZ Best Book Prize 2013); the co-edited anthology and now low-key cult classic Making Worlds: Art and Science Fiction (Surpllus, 2015); Pierre Huyghe: TarraWarra International 2015 (catalogue for the first major solo exhibition of Huyghe's work in Australia); Tom Nicholson: Lines Towards Another (IMA and Sternberg Press, 2018); and Robert Smithson: Time Crystals (Monash University Publishing, 2018), the latter published to accompany a major exhibition of works by Robert Smithson that I co-curated with Chris McAuliffe for presentation at the UQ Art Museum and Monash University Museum of Art. My research has been supported by organisations including the Australia Council for the Arts, Creative Australia, Arts Victoria, the Terra Foundation for American Art, City of Melbourne, the Australia Korea Foundation, the Australia Research Council, and the Gordon Darling Foundation, and I also publish widely in arts magazines and exhibition catalogues.

I have presented invited talks on my research at numerous institutions including for the Biennale of Sydney, Mildura Palimpsest Biennale, Wellington City Gallery New Zealand, Marian Goodman Gallery New York, the Australian Center for the Moving Image, Institute of Modern Art Brisbane, Queensland Art Gallery / Gallery of Modern Art Brisbane, the National Gallery of Australia, the National Gallery of Victoria, Gertrude Contemporary, Auckland University of Technology, Institute for Visual Research University of Oxford, Artspace Sydney, and Helsinki Academy of Fine Arts, Finland. In 2013, I was the recipient of a 2013 Art Gallery of New South Wales residential fellowship at the Cité internationale des arts, Paris.

My current work includes research into the histories of queer art in Australia, as part of the KINK research collective, accessible at queeraustralianart.com. In 2024, KINK were appointed as Adjunct Curators to the Institute of Modern Art, Brisbane.

Currently available to supervise art history MPhil and PhD projects: I particularly welcome applications from researchers working in the areas of contemporary art, queer theory, feminisms, geophilosophy, science fiction, Australian art, or time studies (or all of the above!).

Katelyn Barney is an Associate Professor in the Aboriginal and Torres Strait Islander Studies Unit and also affiliated with the School of Music. Her research focuses on improving pathways for Aboriginal and Torres Strait Islander students into and through higher education and advancing understanding about the role of collaborative research and music making between Aboriginal and Torres Strait Islander and non-Indigenous people. She has published across these areas and her latest edited book is Musical Collaboration between Indigenous and non-Indigenous People in Australia: Exchanges in the Third Space. She is also Managing Editor of The Australian Journal of Indigenous Education.

She was an Equity Fellow with the Australian Centre for Student Equity and Success (formerly NCSEHE) and her fellowship explored effective evaluation of university outreach with Aboriginal and Torres Strait Islander secondary school students. Katelyn co-hosts a podcast with her colleague Professor Tracey Bunda: "Indigenising Curriculum in Practice" and co-hosted a previous series "Indigenous Success: Doing it, Thinking it, Being it". Katelyn has also collaborated with Professor Bronwyn Fredericks and colleagues across five universities to undertake a ACSES funded project to build the evidence to improve completion rates for Indigenous tertiary students.

Katelyn is an Australian Learning and Teaching Fellow and her National Teaching Fellowship focused on developing pathways for Indigenous students from undergraduate study into Higher Degrees by Research.

Originally from the States, I've been lecturing at UQ since 2017. I teach Multimedia and Digital Project in the Bachelor of Communications, both of which center on embedding critical perspectives on media into creative and collaborative design and production processes. My research focuses on the relationship among gender, technological change and space. My methodological approaches combine textual analysis (looking at media content) with more industry-facing, hands-on approaches.

The current book projects turn to representations of gender violence in popular media. My second book, Representing Gender Violence in Contemporary Screen Media: Cutting Through the Park, is under contract with Routledge and it studies themes of surveillance technology in representations of stranger rape in television and film. My third book project, Feeling Safe: Gender Harm and Safety DIscourses in Platform Media, studies themes in gender safety discourses across various platforms including safety apps and dating apps.

My first book The Aesthetics of TV Nostalgia (Bloomsbury, 2019) is an industry study of the people designing sets and costumes for nostalgic US television programmes. I address how questions around gender play out on television alongside larger concerns around historical progress and regress that are attached to technological change. You can find my other publications in the areas of television representations of gender, the female body in narratives around nationhood, digital archives, and creative production in Adaptation, Television & New Media, Feminist Media Studies, Cinema Journal, Continuum, Surveillance & Society and Convergence.

Lisa Bode lectures in Film and Television Studies at the University of Queensland. She is the author of Making Believe: Screen Performance and Special Effects in Popular Cinema (Rutgers University Press, 2017), which historicizes screen performance within the context of visual and special effects cinema and technological change in Hollywood filmmaking, through the silent, early sound, and current digital eras, in order to shed light on the ways that digital filmmaking processes such as motion capture, digital face-replacement, and green-screen acting are impacting screen acting and stardom. She has published work in edited collections and journals on the implications of digital filmmaking technologies for synthetic media; screen acting and stardom, the cultural reception of the synthespian, mock documentary performance, and the processes through which dead Hollywood stars are remembered, forgotten, or re-animated. She co-edited the August 2021 special issue of Convergence on Digital Faces and Deepfakes on screen, and is currently writing a monograph for Rutgers University Press called Deepfakes and Digital Bodies.

She is on the editorial board for the series Animation: Key Films / Filmmakers (Bloomsbury Academic, and Animation Studies, the open-access peer-reviewed journal for The Society for Animation Studies. In 2020 she co-founded the Visual Effects Research Network with Associate Professor Leon Gurevitch

As a music-maker and language revivalist from the south coast Noongar region of Western Australia, I am interested in the connections between song, language, and landscapes. My work intersects with applied linguistics, ecomusicology, Australian studies, and Indigenous studies.

I am lead Chief Investigator for ARC DI project 'Restoring on-Country Performance' and a Chief Investigator for ARC LIEF project 'Nyingarn: A platform for primary sources in Australian Indigenous languages', ARC DI project 'The role of First Nations’ music as a determinant of health', and ARC Linkage project 'Life After Digitisation: Future-Proofing WA's Vulnerable Cultural Heritage'.

After working as an ESL and music teacher, I helped establish the major in Indigenous Knowledge at the University of Western Australia, where I completed a PhD in Noongar song. At the University of Sydney I co-developed the major in contemporary music for Sydney Conservatorium of Music, before returning to Western Australia at Edith Cowan University to bolster humanities research in my home state. Recent arts-language projects I have collaborated on include a mainstage production of Shakespeare's Macbeth in Noongar (Hecate 2020), a Bruce Lee film dubbed in Noongar (Fist of Fury Noongar Daa 2021), and the multi-sensory ‘Noongar Wonderland’ performance installation in Perth Festival 2022.

I serve as Deputy Chair of the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) and received the 2020 Barrett Award for Australian Studies.

Mary is a musician and researcher in the psychology of music, which involves applying psychological science theory and methods to study human thought, feeling and behaviour in relation to music. Her research conjoins art and science, using neurophysiological, behavioural, quantitative and qualitative techniques, to gain insights into how humans generate and audiences respond to music, and the impact this can have on individuals and groups. Mary's interdisciplinary research includes work in music perception and cognition, human action and interaction through music performance, audience engagement and development, music in the early childhood period, and promoting individual and community wellbeing through active participation in music performance. As a percussionist, Mary has performed with orchestras such as the Queensland Symphony Orchestra and West Australian Symphony Orchestra, and has performed nationally and internationally as a chamber and solo musician.

Andrea Bubenik is an expert in Renaissance and Baroque Art, and the continued reception of early modern visual culture. She is an Associate Professor in Art History in the School of Communication and Arts, and was the Director of the UQ Node of the ARC Centre of Excellence for the History of Emotions between 2019-2022. Her research interests include early modern printmaking, links between art and science, court cultures and collecting, and histories of reception for both iconic and lesser known works of art.

Her books include The Persistence of Melancholia in Art and Culture (edited, 2019), Perspectives on the Art of Wenceslaus Hollar (co-edited with Anne Thackray, 2016), and Reframing Albrecht Dürer: The Appropriation of Art, 1528-1700 (2013), which was awarded the AAANZ best book prize (2014). Andrea’s forthcoming monograph, Living Pictures: The Renaissance Artist-Scientist explores the afterlives of the animal, plant, and rock studies by Albrecht Dürer and Leonardo da Vinci, and is supported by a grant from AIAH/AAANZ.

Andrea's international profile includes visiting fellowships at the Warburg Institute in London, the Central Institute of Art History (Zentralinstitut für Kunstgeschichte) in Munich, the Institute of Art History (Ustav Dějin Umění) in Prague, and the Huntington Library in LA. Andrea is a strong advocate for collaboration with arts and culture institutions and the translation of academic research into more public platforms. She curated two major exhibitions at the UQ Art Museum: Ecstasy: Baroque and Beyond (2017), and Five Centuries of Melancholia (2014), both accompanied by exhibition catalogues. She also delivers an annual public art history course at QAGOMA (Queensland Gallery of Art), and has given public lectures at galleries in Australia, Canada, the Czech Republic, Germany, and the UK.

As an experienced teacher and supervisor, with more than twenty successful supervisions at the Honours, MPhil and PhD levels, Andrea is especially proud of her students’ successes. She supervises local, national, and international internship placements in art galleries and museums, and developed an undergraduate study abroad option for UQ students, ‘Art and Architecture in Venice’ which takes place on site in Venice, Italy. She welcomes expressions of interest from prospective HDR students.

Sally Butler is a Reader in Art History.

Sally Butler took up the position as lecturer in Art History at the University of Queensland in 2004 after a period as Art History lecturer at the Australian National Univeristy in Canberra. Visual arts industry experience includes working for the Queensland Art Gallery and a number of freelance curating projects, and several years as Associate Editor of Australian Art Collector magazine and one of the edtiors for the Australia and New Zealand Journal of Art. Sally regularly writes for Australian visual arts magazines, maintaining a particular interest in contemporary Australian art, Australian indigenous art and new media art.

Research

Her research interests include cross-cultural critical theory, Australian Indigenous art, Australian contemporary art, photography and new media art. Current research includes: Indigenous art from Far North Queensland, Virtual Reality theory and photography, contemporary Queensland photography, and art and cultural tourism.

Stephen is a Brisbane-based playwright and academic. His plays have been produced across Australia and won awards including the Griffin Theatre Award (2015) for The Turquoise Elephant, the Matilda Award for Best New Australian Play (2017) for Bastard Territory, and the Patrick White Playwrights’ Award (2005) and New Dramatists’ Award (2006) for Constance Drinkwater and the Final Days of Somerset. Those plays and others including musical Joh for PM (2017, with Paul Hodge), and The Narcissist (2007), have been shortlisted for a range of awards including the Patrick White Playwrights’ Award, the Queensland Premier’s Drama Award, Queensland Literary Awards (Drama), and two AWGIEs.

His main areas of theatre research at present are in c21st Australian playwriting, and the intersections between Gothic drama and Eco-criticism, where he has written the first two of a propsed trilogy of 'cli fi' plays. He has published on the Australian Gothic, and extended this area of interest into Ireland, the UK, the USA, Canada, South Africa and New Zealand. He has a background in Postcolonial drama, Australian Drama (from c19th melodramas to c21st playwriting), Spatial Inquiry (focussing on the Australian North), and Cultural Geography. He is also co-creator of the Cultural Atlas of Australia with his colleagues Prof. Jane Stadler and A/Prof. Peta Mitchell.

Bernadette Cochrane joined UQ in 2014 as a Lecturer in Theatre and Performance in the School of Communication and Arts. She has taught on historical and contemporary drama, dramaturgical theory and performance-making. Her current teaching responsiblities include particular reference to European theatre of the twentieth-century, and directing and dramaturgy. Bernadette, as part of the UQ Drama team, was received the 2018 Award for Programs that Enhance Learning for the "UQ Drama: Building Pathways to Creative Careers" project. In 2016, again as part of the UQ Drama team, she received a Commendation for Teaching Excellence, Prior to joining UQ, Bernadette was a freelance arts worker with a particular focus on directing and dramaturgy. Bernadette completed her dramaturgical PhD at the University of Queensland in 2013.

Her co-edited anthology New Dramaturgy: International Perspectives on Theory and Practice was published by Methuen in 2014. She is a major contributor to The Cambridge Encyclopedia of Stage Directors and Directing, edited by Maria Delgado and Simon Williams. Bernadette is a member of the Translation, Adaptation, and Dramaturgy Working Group of the International Federation of Theatre Research. She is also a Board Member for the Migrant Dramaturgies Network - the international research network developed in partnership with New Tides Platform (UK) and the Centre for Theatre Research at the University of Lisbon, Portugal - which explores emerging dramaturgies of theatrical responses to migration in light of recent migration and shifts in global politics and economics. Bernadette is currently researching the intersection of live performance, cinema, institutional dramaturgies, and cultural production; and contemporary theatrical representations of Otherness.

Bernadette welcomes applications for higher research degree supervision in: directing, dramaturgy, Early Modern performance practice; theatre and the digital humanities; liveness in contemporary performance, and theatrical cultural production.

I am a classicist and a theatre and performance studies scholar, and am a Fellow of the Higher Education Academy and the Royal Historical Society. My area of expertise lies in the performance of Greek tragedy in contemporary theatre, and I am particularly interested in experimental, immersive, and postdramatic adaptations of tragic texts. My most recent research was supported through the Arts and Humanities Research Council in the UK, via a UKRI Innovation Fellowship titled Punchdrunk on the Classics. The research project built upon my prior work as academic consultant on Punchdrunk’s Kabeiroi (2017) and involved me going on secondment to Punchdrunk in a knowledge-exchange arrangement during which I worked as dramaturg on their production The Burnt City (2022-23). My monograph Punchdrunk on the Classics: Experiencing Immersion in The Burnt City and Beyond documented the intersection between immersion and ancient literature within the development and audience experience of the production, and was published with Palgrave Macmillan in 2023. My collaboration with Punchdrunk on The Burnt City was profiled in the New York Times here.

Other current research projects include an edited collection titled Experiencing Immersion in Antiquity and Modernity: From Narrative to Virtual Reality (Bloomsbury), a student edition of Euripides' Women of Troy for Methuen Drama, an invited chapter on dance, immersivity, and translation in Punchdrunk's The Burnt City and, together with Professor Chris Hay (Flinders University) a special issue of Contemporary Theatre Review on the theatre director Simon Stone.

My previous publications include the monograph Postdramatic Tragedies through the Classical Presences series at Oxford University Press (2019), and the co-edited collection Adapting Translation for the Stage (with Geraldine Brodie, for Routledge's Advances in Theatre and Performance Studies series, shortlisted for the 2019 TaPRA prize for editing). I have also published articles and chapters on Punchdrunk, Sarah Kane, Martin Crimp, and Katie Mitchell. My pieces for a general audience have appeared in popular publications including The Theatre Times, The Conversation, and Exeunt Magazine. Dictionary and encyclopedia entries include the 'drama, reception of' entry for the Oxford Classical Dictionary, and the 'Ancient Greek Drama in the Twentieth and Twenty-First Century' in the Methuen Drama Encyclopedia of Modern Theatre (2024).

I joined the University of Queensland in 2023. Prior to this, I worked at the University of Bristol from 2015-2023. Alongside academia, I work as a dramaturg and academic consultant on new writing and classical adaptation projects, and welcome contact from potential collaborators.

Skye Doherty is expert in using creative and design-led research methods to explore alternative futures and address wicked problems. Her work has addressed issues in journalism, law, education, and disaster resilience, among others and has led to both conceptual and practical outcomes. Her design artefacts include the NewsCube, an award-winning storytelling tool and Vim, a tangible energy story. She has developed frameworks for journalism innovation and used codesign to design media for bushfire resilience and to improve the experiences of injured workers, a project that led to legislative change. Her current project – Wicked Thinking – uses speculative news to envision the futures of complex issues.

She leads the Global Change Scholars Program in the UQ Graduate School – a year-long PhD experience focused on research collaboration and impact. She also leads the Advocacy and the Public Good theme within the Centre for Communication and Social Change and is a member of the Human-Centred Computing research group in the School of Computer Science and Electrical Engineering. She came to academic research after an international career as a journalist and her experience spans leading international media companies and as well as startups.

Dr Tom Doig is a creative nonfiction author, investigative journalist and scholar. Tom was the recipient of the 2023 CLNZ-NZSA Writer's Award for his work on prepper subcultures in Aotearoa New Zealand. He has written two books about the unprecedented 2014 Hazelwood mine fire disaster: Hazelwood (Penguin Random House, 2020) and The Coal Face (Penguin Books Australia, 2015). Hazelwood was a finalist for the 2020 Walkley Book Award, Journalism and the 2021 Ned Kelly Awards, Best True Crime and Highly Commended in the 2020 Victorian Premier's Literary Awards, Non-Fiction. The Coal Face was joint winner of the 2015 Oral History Victoria Education Innovation Award. Dr Doig has also written a humorous travel memoir, Mörön to Mörön: Two men, two bikes, one Mongolian misadventure (Allen & Unwin, 2013). He is the contributing editor of the interdisciplinary collection Living with the Climate Crisis: Voices from Aotearoa (Bridget Williams Books, 2020).

Dr Doig teaches creative non-fiction and poetry.

As a scholar, Dr Doig is interested in interdisciplinary approaches to the accelerating climate crisis, with a focus on the cultural, social and psychological aspects of climate breakdown. He is currently researching a new book: We Are All Preppers Now (forthcoming with Scribe Publications), documenting survivalists, doomsday preppers, climate activists and other subcultures of imminent collapse around the world.

Bonnie Evans is an Associate Lecturer in Media Studies at the University of Queensland. Her research has addressed the intersections between feminist politics and screen media, particularly film and television, and she has published on true crime documentary. Her PhD thesis explores aesthetic and thematic links between contemporary feminisms, including the Me Too Movement, and recent horror and true crime film and television. She received a UQ Dean's Award for Oustanding HDR Theses in 2022. She teaches across film and television studies and media studies.

Dr Fred Fialho Teixeira is an architect, media artist and senior lecturer at University of Queensland, School of Architecture, Design and Planning. He has been working in the fields of computational architecture and immersive environments for the last 20 years. He has been awarded the Dean's Fellowship from the University of California and Media Arts and Technology Fellowship where he initiated is PhD on innovative biological-based design strategies at the California Nano Systems Institute. Additionally he co-established and developed an international research program on the studies of Perception of Space in Architecture and Culture and the UQ Visualisation Lab with a focus on the used of immersive technologies and extended realities (VR/AR/XR). With over 50 publications on design methods and research in digital design and fabrication, his research focuses on bio-augmented spaces through the experiential traits of immersive media and spatial computing strategies. He's an alumni of the Architectural Association, School of Architecture (AA) and accredited architect by Royal Institute of British Architects (RIBA) and Portuguese Chamber of Architects (OA) and also practiced for high profile offices such as Zaha Hadid Architects. Through his innovative strategies he designed over 30 projects from which he was internationally awarded within biology, art and architectural domains. Presently his research work on spatial computation combines the use of mixed reality and advanced manufacturing to enable the next generation of built environments.

Memberships

Architectural Association, School of Architecture (UK),Royal Institute of British Architects (UK), Chamber of Architects (PT), Australian Smart Communities Association (AU).

Lucy Fraser is a Senior Lecturer in Japanese at the School of Languages and Cultures, St Lucia campus, UQ. Her research interests include depictions of animal-human relationships in fiction, fairy tales and fairy tale retellings in Japanese and English, and ideas of gender--especially the figure of the girl--in contemporary Japanese literature, manga, film, and television. She is also interested in Japan-Australia literary and cultural connections, and editing and translation of literature and literary criticism.

Greg Hainge is a leading expert in cultural studies whose work reaches into the realms of French literature, film and philosophy, the films of David Lynch, sound and noise studies, the music of Radiohead and much much more. The analysis of challenging and difficult texts is the connecting thread that links the very diverse range of topics he has published on. Greg believes that engagement with difficult texts or objects of study are important because they require us to engage deep critical thinking, forcing us to formulate a response to something that we do not understand. Why does this matter? Because if we only engage with what we already know, we are not learning. Because we need to learn how to engage with things and people who are not like us if our societies are going to be healthy and thrive.

As Professor of French and Head of the School of Languages and Cultures at the University of Queensland, Greg is also passionate about the importance of languages and knowledge of other cultures in education and is driving a large-scale program of work that seeks to flip the script on the importance of languages, which he sees as a critical skill for the future, never more so than right now given the rise of generative AI.

The author of three monographs and over 50 academic chapters and articles, Greg has also written articles for The Australian, and catalogue essays for major international exhibitions, including ‘David Lynch: Between Two Worlds’ at the Gallery of Modern Art, Queensland and 'Audiosphere' held at the Reina Sofia National Museum in Madrid.

Greg is a Fellow of the Australian Academy of the Humanities and a Senior Fellow of the Higher Education Academy. He is editor in chief of Culture, Theory and Critique and serves on the editorial boards of Contemporary French Civilization, Études Céliniennes, Corps: Revue Interdisciplinaire and French Screen Studies.

Dr Joe Hardwick’s research interests include: French cinema; French “existentialist” literature; narrative theory; queer theory; and cultural studies.

His current research projects include:

• Mobility, marginality and identity in le jeune cinéma français
• The representation of gay and bisexual male characters in French cinematic love triangles
• The transition from secondary to university French

He also teaches courses in French language, cinema, literature and cultural studies

Chris is an Australian theatre and cultural historian teaching and researching in the Drama program in the School of Communication and Arts, currently working on an ARC DECRA-funded project about the origins of live performance subsidy in Australia between 1949 and 1975. In this work, as in all of his research, Chris is particularly interested in what funded cultural output can tell us about national pre-occupations and anxieties. Along with this historical focus, Chris is working on a book project about contemporary Australian mainstage theatre after the Kevin07 election, as well as the Australian component of a project on the cultural history of the Eurovision Song Contest outside Europe. Chris's teaching responsibilities at UQ include theatre history, performance production, and script analysis. Chris welcomes applications for higher degree research at MPhil or PhD level in any of these areas.

Chris joined UQ from the University of New England (UNE), where he was Lecturer in Theatre Studies in 2017 and directed UNE's major production of Spring Awakening in his own translation. Between 2014 and 2016, Chris was Associate Lecturer in Performance Practices at the National Institute of Dramatic Art (NIDA), Sydney, where he taught into the theoretical components of the practice-led Bachelor and Master of Fine Arts degrees. Chris was awarded his PhD from the Department of Theatre and Performance Studies at the University of Sydney, with a thesis entitled “Learning to inhabit the chair: Knowledge transfer in contemporary Australian director training”. This research was later published as the monograph Knowledge, Creativity and Failure (Palgrave, 2016). Chris currently serves as Vice-President of ADSA (the Australasian Association for Theatre, Drama and Performance Studies), an Associate Editor of Theatre, Dance and Performance Training, Deputy Editor of Performance Paradigm, and a Convenor of the Historiography Working Group of the International Federation for Theatre Research (IFTR).